3

Korpus mozaičke baštine dugo nije bio u fokusu znanstvenog i stručnog interesa povjesničara um-jetnosti i arheologa. Pomanjkanje zanimanja nasli-jeđeno je od antičkih pisaca, koji također nisu po-klanjali previše pozornosti mozaicima, tretirajući ih u svojim djelima uglavnom kao zanat, a ne kao umjetnost. Jedan od izuzetaka je brod Hijerona Sira-kuškog, ukrašen mozaičkim scenama iz Ilijade (At-henaeus, Deipnosophistae, 5.206-207). Među rijet-kim sačuvanim spomenima na mozaičare izdvaja se Plinijev (Gaius Plinius Secundus, Naturalis Historia, 36.184) zapis o Sosu Pergamskom, kojeg opisuje kao celeberrimus fuit in hoc genere.

Pavimentum sectile (Marcus Vitruvius Pollio, De Ar-chitectura, 7.1,3,4), lithostrotum (Gaius Plinius Se-cundus, Naturalis Historia,1.c), vermiculatum (Gaius Plinius Secundus, Naturalis Historia, 35.2), pictum de musivo (Aelius Spartianus, Pescennius Niger, 6) ili musivo picta (Augustinus Hipponensis, De Civita-te Dei, 16.8) neki su od pojmova koji se odnose na mozaike, a nalazimo ih u djelima antičkih pisaca. Bez obzira na nazivlje, naizgled bezvrijedne, šarene, ka-mene kockice, umijećem poslagane u dekorativne cjeline mozaika, postaju velika vrijednost.

U skladu sa svjetskim tendencijama revaloriziranja i očuvanja mozaičke baštine, osmišljen je i projekt Southeast Europe Mosaics (SEE Mosaics), koji je 2011. pokrenuo Centralni institut za konzervaciju u Beo-gradu. Sa zajedničkim ciljem poticanja i unapređi-vanja organizirane zaštite i promidžbe mozaičke ba-štine, na projektu surađuju stručnjaci iz zemalja s prostora jugoistočne Europe (Albanija, Bosna i Her-

For a long time, the corpus of mosaic heritage was not in the focus of scientific and professional interest of art historians and archae-ologists. This lack of interest was inherited from ancient writers who did not give much attention to mosaics, treating them as a craft, not art. One of the few exceptions was the ship of Hieron of Syracuse decorated with scenes from The Illiad (Athenaeus, Deip-nosophistae, 5.206-207). Furthermore, not many mentions of mo-saic artists are preserved. Their names were rarely recorded; one of them was Sosus of Pergamon, cited by Pliny the Elder as cele-berrimus fuit in hoc genere (Gaius Plinius Secundus, Naturalis Historia, 36.184).

Pavimentum sectile (Marcus Vitruvius Pollio, De Architectura, 7.1,3,4), lithostrotum (Gaius Plinius Secundus, Naturalis Historia,1.c), vermicula-tum (Gaius Plinius Secundus, Naturalis Historia, 35.2), pictum de mu-sivo (Aelius Spartianus, Pescennius Niger, 6) or musivo picta (Augusti-nus Hipponensis, De Civitate Dei, 16.8) are just some of the terms for mosaics, found in ancient literature. Regardless of terminolo-gy, these seemingly worthless, colourful stone tesserae artfully ar-ranged in a mosaic become tremendously valuable.

Project Southeast Europe Mosaics (SEE Mosaics) was conceived in ac-cordance with global tendencies of re-valorisation and preserva-tion of mosaic heritage and was launched in 2011 by the Central Institute for Conservation in Belgrade. United by a common goal of promoting and enhancing the organised protection and promo-tion of mosaic heritage, project gathers experts from countries of Southeast Europe (Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Macedonia, Montenegro, Serbia, and Slovenia).

During the first phase of the project, pre-existing state of an-cient mosaic sites was determined. Collected data was pub-lished in a database that can be found on the project website www.seemosaics.org. In the second phase of the project, the focus is on the development of an expert network and the transmission and exchange of knowledge, skills, and competencies in mosaic conservation. With the objective of sharing these values, three SEE Mosaics conferences were organised in Ohrid.

The theme of the 4th SEE Mosaics Conference – presentation of de-tached mosaics of movable supports – is a logical continuation of previous conferences. As one of the biggest problems, past confer-ences identified the inability of suitable storage of detached mo-saics. That is why it is necessary to consider the possibilities and appropriate methods for their conservation, as well as the best ap-proaches to presentation. Lectures, based on practice, will present past and current experiences with an emphasis on applied tech-niques and methods.

The aim of the current SEE Mosaics conference, third co-financed by the Central European Initiative (CEI), is the continuation of knowledge exchange, development of a professional network, ad-vancement of new techniques and methods of conservation and presentation of mosaics, as well as defining future activities and project goals, with the purpose of preserving these fragile works of art for future generations.

Tajana Pleše, PhD

cegovina, Bugarska, Crna Gora, Hrvatska, Makedo-nija, Slovenija i Srbija).

Tijekom prve faze realizacije projekta utvrđeno je postojeće stanje nalazišta s antičkim mozaicima. Prikupljeni podaci objavljeni su u bazi podataka na mrežnoj stranici projekta www.seemosaics.org. U drugoj fazi projekta naglasak je na razvijanju mreže stručnjaka te prijenosu i razmjeni iskustava, vještina i kompetencija o očuvanju mozaika. Upravo radi raz-mjene navedenih vrijednosti, do sada su bila organi-zirana tri savjetovanja SEE Mosaics u Ohridu.

Tema ovoga, četvrtog savjetovanja SEE Mosaics - prezentacija demontiranih mozaika na pokretnim podlogama - logičan je nastavak prethodnih triju. Naime, među zaključcima prethodnih savjetovanja je nemogućnost primjerene pohrane demontiranih mozaika istaknuta kao jedan od najvećih problema. Stoga je nužno razmotriti mogućnosti i odgovaraju-će metode njihova konzerviranja i restauriranja, kao i najbolje načine prezentiranja. Predavanjima, teme-ljenim na praktičnom radu, bit će predstavljena pri-jašnja i sadašnja iskustva, s naglaskom na primije-njenim tehnikama i metodama.

Cilj ovoga savjetovanja SEE Mosaics, već trećega koje sufinancira Central European Initiative (CEI), jest nastavak razmjene iskustava, jačanje umreža-vanja stručnjaka, razvoj novih tehnika i metoda kon-zerviranja, restauriranja i prezentiranja mozaika, kao i definiranje budućih aktivnosti i ciljeva projekta, a u svrhu očuvanja tih krhkih cjelina za buduće na-raštaje.

dr. sc. Tajana Pleše

TABL

E OF

CON

TENT

S / S

ADRŽ

AK

Lectures / PredavanjaCURRENT CHALLENGES OF DETACHED MOSAICS ON MOVABLE SUPPORTS / SUVREMENI IZAZOVI U RADU S DEMONTIRANIM MOZAICIMA NA POKRETNIM PODLOGAMAAlessandro Lugari: A method for setting up a mosaic collection in the Archaeological National Museum of Palazzo Massimo in Rome / Metoda za postavljanje zbirke mozaika u Nacionalnom arheološkom muzeju u Palači Massimo u Rimu

Lucija Đurašković, Jovo Đurović, Dušan Medin: Antique, late Antique and early Christian mosaics in the area of the municipality of Budva / Antički, kasnoantički i ranokršćanski mozaici na području Općine Budva

Astrid Maréchaux: Two contemporary mosaics executed on asbestos... How can one remove and restore works of art on a dangerous support? / Dva suvremena mozaika na azbestnoj podlozi… Kako ukloniti i restaurirati umjetnička djela na opasnim podlogama?

Brigitta Maria Kürtösi: Various conditions and conservation treatments, further plans in connection with detached mosaics of Aquincum, focusing on fragments depicting ‘The Punishment of Dirce’ / Konzervatorsko-restauratorski zahvati u različitim uvjetima i daljnji planovi postupanja s demontiranim mozaikom s prikazom “Kažnjavanje Dirke” iz Akvinka (Aquincum)

Tonči Borovac: Mosaics from the archaeological site of ‘Podno Miri’, in Baška – Juran Dvor: Problems of an open-air archaeological site / Mozaici s arheološkog nalazišta „Podno Miri“ Baška - Jurandvor: Problemi arheološkog nalazišta na otvorenom

Leslie Fiedman: In situ versus lifting: An analysis of the advantages and disadvantages of two approaches to the conservation of archaeological mosaics / Podići ili ostaviti in situ: analiza prednosti i nedostataka dvaju pristupa konzerviranju i restauriranju mozaika s arheoloških nalazišta

Mishko Tutkovski: Conservation of floor mosaics from the narthex of the Episcopal Basilica in Stobi / Konzerviranje i restauriranje podnih mozaika iz narteksa episkopalne bazilike u Stobiju

Jelka Kuret, Petra Benedik: Roman pavements displayed on lightweight supports with the use of polyurethane foam / Rimske podnice prezentirane na laganim podlogama uz upotrebu poliuretanske pjene

Krešimir Bosnić, Branko Matulić, Nikola Radošević: Conservation models for mosaic preservation in ancient Salona – outdated solutions as a contemporary problem / Pregled konzervatorskih modela zaštite mozaika antičke Salone - zastarjela rješenja kao problemi današnjice

PAST AND PRESENT SOLUTIONS FOR DETACHED MOSAICS / DEMONTIRANI MOZAICI U PROŠLOSTI I SADAŠNJOSTIPeter Berzobohaty: Analytical view of detached mosaics / Analiza podignutih mozaika

Antonija Gluhan: Mosaics with Portland cement supports: Selected examples from Split / Mozaici s podlogama rađenim portland cementom (odabrani primjeri u Splitu)

Nikola Upevche: Examples and problems within presentation of mosaic fragments on removable media supports / Primjeri i problemi prezentacije dijelova mozaika na podlogama od reverzibilnih materijala

Đeni Gobić-Bravar: Sites in Istria with ancient mosaics: an overview / Pregled nalazišta s antičkim mozaicima u Istri

Toni Šaina, Željko Ujčić: Fragments of the floor mosaic from the Basilica of St Mary Formosa in Pula – an example of various approaches to historical and contemporary presentation / Ulomci podnog mozaika iz bazilike sv. Marije Formoze u Puli – primjer različitih pristupa prezentaciji u prošlosti i danas

Blaž Šeme: A historical overview of movable supports for detached mosaics in Slovenia / Povijesni pregled pokretnih podloga za demontirane mozaike u Sloveniji

Dobrila Vlahović: Approaches to the protection and preservation of the cultural and historical values of mosaics in Montenegro / Pristupi u zaštiti i očuvanju kulturno-povijesnih vrijednosti mozaika u Crnoj Gori

Adnan Busuladžić: Condition and vulnerability of Roman mosaics in Bosnia and Herzegovina / Stanje i ugroženost rimskih mozaika na tlu Bosne i Hercegovine

CONSERVATION TECHNIQUES FOR MOSAICS / KONZERVATORSKO-RESTAURATORSKI POSTUPCI NA MOZAICIMAStefania Chlouveraki, Nikolaos Lymperopoulos, Andreas Gkizis, Eleftherios Charalambous: Issues in the preservation of the original mortar in detached mosaics: past experiences and future research / Problemi očuvanja izvorne žbuke na podignutim mozaicima: prijašnja iskustva i buduća istraživanja

Marijana Protić, Nemanja Smičiklas: Conservation of a mosaic with a Christ monogram from Mediana / Konzerviranje i restauriranje mozaika s Kristovim monogramom iz Medijane

Nikola Radošević, Branko Matulić, Krešimir Bosnić: Fragments of floor mosaics on portable substrates from the archaeological site of Gardun, near Trilj: Problems, presentation, context / Ulomci podnog mozaika na prenosivim podlogama s arheološkoga nalazišta Gardun pokraj Trilja: problematika, prezentacija, kontekst

Maja Franković, Dunja Davidović Gnjatović, Dušan Maksimović: Mosaics in museums – approaches to designing movable supports for detached mosaics / Mozaici u muzejima – pristupi kreiranju pokretnih podloga za dislocirane mozaike

Posters / PosteriDunja Davidović Gnjatović, Maja Franković, Dušan Maksimović: Museum presentation of detached mosaics – treatment of lacunae / Prezentacija dislociranih mozaika u muzejima – tretman lakuna

Milena Jovanović, Dunja Davidović Gnjatović, Maja Franković: Conservation of mosaic fragments from the City Museum of Belgrade / Konzerviranje fragmenata mozaika iz Muzeja grada Beograda

Dušan Maksimović, Maja Franković, Dunja Davidović Gnjatović: Conservation of Roman mosaics from villa urbana, Budva – International project / Konzerviranje i restauriranje rimskog mozaika iz urbane vile (villa urbana) u Budvi (projekt međunarodne suradnje)

Marijana Protić, Nemanja Smičiklas: Conservation of modern ceramic mosaics from an elementary school in Obrenovac / Konzerviranje i restauriranje suvremenog keramičkog mozaika iz osnovne škole u Obrenovcu

Martina Lesar Kikelj, Nataša Škrjanec: Proper selection of methodology works on two different areas of the archaeological park of St. Simon’s Bay (Simonov Zaliv) / Odabir odgovarajuće metodologije rada na dva područja arheološkog parka Simonov zaljev (Simonov zaliv)

6

8

10

12

14

16

18

20

22

24

26

28

30

32

34

36

38

44

46

48

50

52

54

56

58

60

Marta Novello: Aquileia Mosaics / Mozaici iz Akvileje

Reneta Karamanova-Zlatkova: Problems and challenges in conserving of the mosaic heritage of Augusta Traiana (Stara Zagora) / Problemi i izazovi zaštite mozaičke baštine iz Stare Zagore (Augusta Traiana)

40

42

7CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Rome, Roman National Museum, Palazzo Massimo. New setup of mosaics from antiche

stanze. (Photo: Alessandro Lugari)

Rim, Nacionalni rimski muzej, Palača Massimo. Novi postav mozaika iz “antičkih

soba”. (foto: Alessandro Lugari)

Zbirka mozaika u muzeju Palače Massimo u Rimu jedna je od najvažnijih i najpotpunijih zbirki antičkih rimskih mozaika u svijetu. Radi se o izboru djela koja su prethodno bila izložena i pohranjena u Nacional-nom rimskom muzeju u Dioklecijanovim termama. Višegodišnji rad na renovaciji starog muzeja, koji je počeo sredinom osamdesetih godina 20. stoljeća, nastavio se uklanjanjem posljedica prethodnog kon-zervatorsko-restauratorskog zahvata na mozaicima koji su bili postavljeni na armiranobetonske ploče. Nakon uklanjanja starog medija, mozaici su restauri-rani i postavljeni na lagane ploče te izloženi u novom muzeju koji je otvoren u srpnju 1998. godine. U tri godine nakon desete obljetnice otvaranja, muzejski se postav znatno poboljšao.

Kad je riječ o mozaicima, pokušao se obogatiti nji-hov prikaz u kontekstu razvoja postojećega muzej-skog koncepta Palače Massimo. Postavljen je novi dio u kojemu su neke prostorije s oslikanim zidovima i podnim mozaicima potpuno rekonstruirane, to su tzv. stare sobe (domus pronađen na trgu ispred sta-nice Termini tijekom iskopavanja za podzemnu želje-znicu od 1946. do 1950. godine). U novom rasporedu vile Villa della Farnesina neke podne plohe (mozai-ci) aplicirane su u nekadašnjem izvornom ambijentu, okružene oslikanim zidovima. Osim toga, mozaici iz muzejske galerije na drugom katu posloženi su kro-nološki, da bi se prikazao razvoj rimske umjetnosti mozaika od 2. stoljeća pr. n. e. do pada Rimskog Car-stva. Nosivi sustavi za mozaike osmišljeni su i izra-đeni tako da budu lako prenosivi, čime bi se omogu-ćile posudbe u posebnim prigodama i, ako je nužno, odgovarajuće izmjene u izložbenom postavu.

A method for setting up a mosaic collection in the Archaeological National Museum of Palazzo Massimo in Rome ∕ Metoda za postavljanje zbirke mozaika u Nacionalnom arheološkom muzeju u Palači Massimo u Rimu

The Palazzo Massimo’s mosaics collection at the Baths in Rome is one of the most important and complete in the ancient Roman world and is the result of a selection of the works previously exhib-ited and preserved in the Roman National Museum at Terme di Diocleziano. The long work of dismantling the old museum that began in the mid-eighties was continued with the “derestauro” of the mosaic works, all mounted on reinforced concrete panels. Once the old media had been removed, the mosaics were restored and reassembled on lightweight panels and exhibited in the new museum, which was inaugurated in July 1998. Over the last three years, starting with the tenth anniversary of its opening, major im-provements have been made to the whole museum.

As far as mosaics are concerned, an attempt has been made to en-hance the contexts by trying to develop this concept by which the museum of Palazzo Massimo was created. A new section has been set up where some of the environments with frescoed walls and floor mosaics have been completely recreated in the so-called ‘old rooms’ (a domus found on the square in front of Termini Station during excavations for the metro in 1946-50). In the new layout of Villa della Farnesina, some floor lacquers have been inserted in the frescoed environments previously exposed. In addition, the mosaics of the museum’s second-floor gallery have been relocated in chronological order to give a general picture of the evolution of Roman mosaic art from the second century BC to the end of the Empire. Mosaic anchor systems have been designed and built in such a way as to be easily removable and thus allow for work loans at special events and, where necessary, appropriate exhibit changes.

Alessandro Lugari, senior conservator, Colosseum Archaeological Park, alessandro.lugari@beniculturali.itAlessandro Lugari, viši konzervator, Arheološki park Kolosej, alessandro.lugari@beniculturali.it

9CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Budva, Budva City Museum. Current condition and new presentation of conserved ancient Roman mosaic. (Photo: Jovo Đurović)

Budva, Muzej grada Budve. Sadašnje stanje i nova prezentacija konzerviranog i restauriranog antičkog rimskog mozaika.

(foto: Jovo Đurović)

U likovnoj umjetnosti, naročito antičkoj, ranokršćan-skoj i bizantskoj, mozaik je, kao tehnika ukrašava-nja zidova i podova, bio vrlo važan dio.  Područje Budve bogato je mozaicima iz različitih povijesnih razdoblja. Iz najstarijega antičkog doba potječe mozaički pod iz 2. stoljeća, koji pripada najstarijim primjercima mozaičnog slikarstva pronađenih na prostoru Balkana.

Umjetnička vrijednost mozaika te njegove stilske i tehničke karakteristike svjedoče o tome da je riječ o reprezentativnom djelu antičke rimske umjetnosti sa simbolima zmaja, zmija i bića iz svijeta morske fa-une koji upućuju na eventualni jedinstven primjer li-kovnog oživotvorenja  poznate legende o postanku Budve.  Za kasnoantički mozaik koji je otkriven na području obližnjeg Petrovca na Moru pretpostav-lja se da je nastao sredinom 4. stoljeća, a primjer je simbioze kasnoantičke i ranokršćanske umjetničke tradicije te upućuje i na same početke ranokršćan-ske umjetnosti na crnogorskom primorju, odno-sno južnom dijelu istočne obale Jadrana. Navedeni mozaik ukrašavao je pod rustične vile (villa rusti-ca) nekog moćnijeg veleposjednika koja se nalazila u neposrednoj blizini puta Epidaurus – Scodra, koji je povezivao Epidaur s glavnim gradom tek osamo-staljene rimske provincije Prevalis.  Iz kasne antike ili ranog kršćanstva (kraj 5. ili početak 6. stoljeća) potječe treći mozaik koji je pokrivao pod središnje-ga broda ranokršćanske bazilike, najstarije, a pre-ma dimenzijama i najprostranije sakralne kršćanske građevine unutar Staroga grada Budve. Na ostaci-ma mozaika mogu se prepoznati, osim dekorativnih geometrijskih polja sa simboličkim znacima i ideo-gramima, dvodimenzionalno predstavljeni prikazi

Antique, late Antique and early Christian mosaics in the area of the municipality of Budva / Antički, kasnoantički i ranokršćanski mozaici na području Općine Budva

In fine art, particularly Antique, early Christian and Byzantine, the mosaic, as a technique for decorating walls and floors, occupies a particularly significant place. The territory of Budva is rich in mosaics from various periods of history. The oldest mosaic, from the antique period, represents an example of mosaic floor from the 2nd century, and it is one of the oldest exemplars of mosaic depiction ever found in the Balkans.

The artistic value of the mosaic, as well as its stylistic and technical characteristics, testify that it is a representative work of ancient Ro-man art with symbolic representations of a dragon, snakes and sea creatures, which indicates a possibility that it is a unique example of artistic incarnation of the well-known legend regarding the ori-gin of the town of Budva. It is assumed that the late antique mosaic discovered in the territory of the nearby town of Petrovac na Moru originated in the middle of the 4th century and is an example of the symbiosis of the late antique and early Christian art traditions, and therefore it indicates the very beginning of early Christian art on the coast of Montenegro, that is, on the southern part of the east coast of the Adriatic sea. This magnificent mosaic decorated the floor of a villa rustica that belonged to a powerful landowner. The villa was located in the vicinity of the Epidaurus-Scodra road, which connected Epidaurus with the capital of the Roman province of Prevalis, which had just gained its independence. The third mo-saic originates from the late antique or early Christian period (late 5th century and early 6th). The mosaic covered the floor of the cen-tral nave of the early Christian basilica, the oldest and, according to its dimensions, largest Christian sacred object within the walls of the Old Town of Budva. In the remains of the mosaic, besides decorative geometrical fields with symbolic signs and ideograms,

Lucija Đurašković, MA, director of the Public Institute of Museums and Galleries of Budva, lucija.djuraskovic@gmail.com; Jovo Đurović, conservator-adviser, Public Institute of Museums and Galleries of Budva, johan.mne@gmail.com; Dušan Medin, curator, Public Institute of Museums and Galleries of Budva, dusan.medin@gmail.commr. Lucija Đurašković, ravnateljica JU Muzeji i galerije Budve, lucija.djuraskovic@gmail.com; Jovo Đurović, konzervator savjetnik, JU Muzeji i galerije Budve, johan.mne@gmail.com; Dušan Medin, kustos, JU Muzeji i galerije Budve, dusan.medin@gmail.com

two-dimensional representations of birds and floral elements can be identified. The main purpose of this work is to provide histori-cal and artistic analysis of the three mosaics and a short overview on the context of their finding – during archeological excavations or by chance. Moreover, at the end of this work some possible solu-tions for their proper presentation will be suggested, due to the fact that none of the three mosaics yet has adequate presentation.

ptica i floralnih elemenata. Glavni cilj ovoga rada je povijesna i umjetnička analiza navedenih mozaika te sažet prikaz njihova konteksta nalaska, bilo tijekom arheoloških iskopavanja, bilo kao slučajnih nalaza. Na kraju rada predložena su rješenja za prezentaciju mozaika, s obzirom na to da do sada ni jedan od njih nije adekvatno prezentiran.

11CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Creutzwald. The green mosaic after restoration, presented in the new school

building. (Photo: Astrid Maréchaux)

Creutzwald. Zeleni mozaik nakon restauriranja, izložen u novoj školskoj

zgradi. (foto: Astrid Maréchaux)

U Francuskoj se iz državnoga proračuna izdvaja 1% za umjetnost. Zahvaljujući tome, 1967. godine upra-va srednje škole u Creutzwaldu (istok Francuske) naručila je tri umjetnička djela od lokalne umjetni-ce Camille Hilaire, dva suvremena mozaika i jednu sliku.

Međutim, školska se zgrada u međuvremenu pre-stala koristiti, pa su mozaici izloženi prašini i ošte-ćenjima, naročito napuknućima i gubitkom tesera. Budući da je zgrada planirana za rušenje u 2017. go-dini, trebalo je dva mozaika skinuti sa starih zidova i prenijeti u nove zgrade srednje škole da bi „ponovno zasjali starim sjajem“. No prethodne studije tih re-mek-djela pokazale su da je podloga mozaika potpu-no izrađena od azbesta, što je velik problem u njiho-vu uklanjanju. Podloga se ne smije grepsti, micati, dirati ili lomiti. Osim toga, prekomjerna težina tesera nije primjerena samo za takvu vrstu podloge, nego i za same zidove. Paneli mozaika potpuno su defor-mirani, a potporni zidovi se urušavaju. Angažirana je skupina konzervatora-restauratora, stručnjaka za azbest i obrtnika-metalaca kako bi se pronašlo rje-šenje. Kako ukloniti mozaike dugačke 4 m bez dodi-rivanja ili oštećivanja azbestne podloge? Kakav su-stav visećih panela odabrati za izlaganje mozaika u školi? I naposljetku, kako se mozaici mogu restauri-rati i zaštititi?

Two contemporary mosaics executed on asbestos... How can one remove and restore works of art on a dangerous support? / Dva suvremena mozaika na azbestnoj podlozi… Kako ukloniti i restaurirati umjetnička djela na opasnim podlogama?

In French public construction, 1% of the general budget is allocat-ed to art. With this objective, in 1967 a high school in Creutzwald (East of France) received three works of art – two modern mosaics and one painting – from a local artist, Camille Hilaire.

In time, the classrooms ceased to be used, and the mosaics suf-fered from dirt, losses, cracks... In 2017, the building is planned to be destroyed. Therefore, the demand was to remove the two mosa-ics from the old walls, to transfer them to new buildings of the high school, and to “bring them back to light”. However, the previous study of these masterpieces has revealed that the support for the mosaics was made entirely with asbestos, a big problem for their removal. It is impossible and dangerous to scratch, move, touch or break the support. Moreover, the weight of the tesserae is too high not only for this kind of support, but also for the walls. The panels of the mosaics are completely deformed, and the supporting walls are collapsing. To find solutions, a team of conservators, asbestos specialists and metalworking craftsman has been created. How can mosaics, 4 m long, be removed without touching or breaking the asbestos support? What kind of new hanging system can be created to exhibit the mosaic panels in a school? And how can they be restored and protected?

Astrid Maréchaux, freelance conservator of mosaics and archaeological objects, Restauration Mosaïques, astridmarechaux@gmail.com Astrid Maréchaux, samostalni konzervator-restaurator mozaika i arheoloških predmeta, Restauration Mosaïques, astridmarechaux@gmail.com

Creutzwald. The green mosaic before protection and removal. (Photo: Astrid Maréchaux)

Creutzwald. Zeleni mozaik prije zaštite i uklanjanja. (foto: Astrid Maréchaux)

13CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Aquincum. Drawing of the excavated parts of ’The

Punishment of Dirce‘ mosaic emblema from 1943. (Photo:

Lajos Nagy: Dirke bűnhődése az aquincumi mozaikon. In:

Budapest Régiségei 13, 1943, p. 89, Fig. 10)

Akvink (Aquincum). Crtež pronađenih fragmenata

embleme mozaika s prikazom “Kažnjavanje Dirke” iz

1943. godine. (foto: Lajos Nagy: Dirke bűnhődése az

aquincumi mozaikon. U: Budapest Régiségei 13, 1943.,

str. 89, sl. 10)

Izlaganje se bavi različitim problemima u radu s fra-gmentima podnih mozaika koji su iskopani, podignu-ti i pohranjeni u depo muzeja u prvom kvartalu 20. stoljeća. Prezentacija je fokusirana na stanje moza-ika koji sadrži rijetko prikazivanu scenu “Kažnjava-nje Dirke”, a otkriveni su tijekom iskopavanja rimskog grada koji je trenutačna lokacija Muzeja i arheološkog parka Aquincum. Primjer za usporedbu stanja je veći panel podnog mozaika iz Guvernerove palače. Moza-ik je podignut s izvornom žbukanom podlogom, što ga čini vrlo teškim. Dijelovi mozaika s prikazom “Ka-žnjavanje Dirke” sadrže izvornu žbuku samo u trago-vima, u pravilu je ostao očuvan opus tessellatum s velikim prazninama. Cilj je izložiti mozaik na izvornoj lokaciji pričvršćivanjem fragmenata na pomične pod-loge koje se mogu odvojiti. Mozaik (36 m2) je sačuvan samo u fragmentima, uključujući i pseudoemblemu. U konzervatorsko-restauratorskim zahvatima bitno je stabilizirati različita stanja pojedinih dijelova mo-zaika, ali i ukloniti tragove prijašnjih zahvata. Pomič-ne podloge razlikuju se ovisno o veličini fragmenata.

Cilj je budućih zahvata, na temelju prijašnjih iskusta-va, pronaći prikladne materijale (lagane agregate, kompozitne panele izrađene od strukturiranih po-likarbonatnih višeslojnih ploča, plastične rešetke) i metode koje osiguravaju kompatibilnost i reverzibil-nost. Nadalje, planira se i izrada replike cijele pse-udoembleme u prirodnoj veličini, s prikazom mito-loške scene, izbjegavajući rekonstrukciju izvornih dijelova mozaika s figuralnim prikazima. Stupanj rekonstrukcije pojedinih izvornih fragmenata može se razlikovati ovisno o dijelovima koji nedostaju. Pri-tom treba zadržati izvornost i razraditi etično rješe-nje koje će olakšati razumijevanje.

Various conditions and conservation treatments, further plans in connection with detached mosaics of Aquincum, focusing on fragments depicting ‘The Punishment of Dirce’ / Konzervatorsko-restauratorski zahvati u različitim uvjetima i daljnji planovi postupanja s demontiranim mozaikom s prikazom “Kažnjavanja Dirke” iz Akvinka (Aquincum)

The contribution deals with the various problems of the detached floor-mosaic fragments excavated in the first quarter of the 1900s, preserved in museum storage. It focuses mainly on the situation of the mosaic with the rarely represented scene of ʽThe Punishment of Dirce’, unearthed in the Roman civil town, which is the present site of the Aquincum Museum and Archaeological Park. The ex-ample for comparing the situation is a larger panel of a threshold mosaic from the Governor’s Palace. It was lifted with its strong-ly bound preparatory mortar layers; thus its weight is significant. The Dirce mosaic sections have the original mortars only in trac-es; essentially the fragmented opus tessellatum has remained, with sizeable missing parts. The plan is to display the mosaic at its orig-inal location by fixing the fragments on mobile panels which are separable. The mosaic (36 m2) is very fragmented, including the figural pseudo-emblema. The conservation problems require not only the stabilizing of the diverse conditions of the sections, but also the solving of the traces of former treatments. The movable supports can vary depending on the dimensions of the fragments.

The goal of future treatments – building on previous experience – is to find adequate materials (lightweight aggregates, composite panels of cellular structured polycarbonate multiwall sheets, plas-tic grids), and methods to grant compatibility and reversibility. It is a further goal to realize a same-size replica, a completed version of the pseudo-emblema, which can represent the mythological scene but strictly avoid the completion of the original figurative fragments. The completions can also vary within an original frag-ment, and regarding the missing parts. The aim of this situation is to keep the originality, but to give an ethical solution which serves better understanding.

Brigitta Maria Kürtösi, DLA, painting-conservator, lecturer, Hungarian University of Fine Arts, kurtosi.brigitta.maria@gmail.comdr. art. Brigitta Maria Kürtösi, konzervator-restaurator za slikarstvo, predavač, Mađarsko sveučilište likovnih umjetnosti, kurtosi.brigitta.maria@gmail.com

15CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Island of Krk, Baška, ‘Podno Miri’. Mosaic after the removal of protective layers of soil

and plastic foil. (Photo: Tonči Borovac)

Otok Krk, Baška, “Podno Miri”. Mozaik nakon uklanjanja zaštitnih slojeva zemlje i

plastičnih folija. (foto: Tonči Borovac)

Na arheološkom nalazištu ‘’Podno Miri’’ u Baški pri-sutni su mnogi čimbenici koji priječe primjenu pri-hvatljivih rješenja u ostvarenju zadanoga cilja – po-novno vraćanje podignutih izvornih dijelova mozaika s osiguranjem sustava održavanja i prezentacijom cijelog arheološkog nalazišta.

Svako arheološko nalazište, poglavito ono na koje-mu su mozaici, živo je vrelo podataka s povijesnim matricama koje ocrtavaju obrise vremena u kojem su nastali i trajali. Kad se na nekom arheološkom nalazištu ne mogu osigurati minimalni uvjeti za re-vitalizaciju i održavanje, ne bi trebalo dvojiti oko po-stavljanja prilagođenih nadstrešnica i ostalih oblika natkrivanja zaštićenog mjesta koji bi takve uvje-te osigurali. Nadstrešnice ne moraju biti agresivne intervencije u prostoru, nego ga dizajnerskim rje-šenjima mogu oplemeniti i dopuniti, posebice kad takve projekte osmišljavaju stručnjaci u skladu s konzervatorskim uvjetima i naputcima. Kompromis, tj. ograničavanje vizualnog doživljaja kulturnog pej-zaža, koji se postavlja pred konačnim ciljem (a to je postizanje kvalitetne zaštite i optimalno održavanje nekog arheološkog nalazišta) višestruko je isplativ i možda je najbolje rješenje u procesu zaštite, kon-zerviranja, restauriranja te održavanja. Mnogi argu-menti govore u prilog takvim rješenjima, a najvažniji su:

• dugoročna kvalitetna zaštita (poglavito od štet-nih vanjskih utjecaja, kao što su insolacija, obo-rine i ostali oblici meteoroloških pojavnosti)

• idealni uvjeti za sve zastupljene materijale

• znatno niže cijene

Mosaics from the archaeological site of ‘Podno Miri’, in Baška – Jurandvor: Problems of an open-air archaeological site / Mozaici s arheološkog nalazišta „Podno Miri“ Baška – Jurandvor: Problemi arheološkog nalazišta na otvorenom

At the archaeological site of ʽPodno Miri’, in Baška, many factors exist which prevent application of acceptable solutions in accord-ance with the ultimate goal – returning original parts of mosaics previously lifted with the securing of a maintenance system and the presentation of the whole archaeological site.

Every archaeological site, especially one with mosaic pavements, represents a real source of data with historical matrices which de-lineate the contour of the time in which they originated and lasted. When it is not possible to secure minimum conditions for the revi-talization and maintenance of an archaeological site, there should be no doubt about choosing a solution with protective canopies and other forms of protective covering. Protective canopies do not have to be aggressive interventions in the landscape, but with their own design could be refined and implemented, especially when such projects are realized by experts in accordance with conserva-tion terms and conditions. Compromise, in the sense of restriction of visual perception of the cultural landscape, which is set before the final goal – to get the best protection and possibility optimal maintenance of an archaeological site – is multiply cost-effective and represents perhaps the best solution in the process of the con-servation and maintenance system. There are many arguments in favour of these solutions, and they are, among others:

• long-term quality protection (especially from harmful exter-nal influences like insolation, precipitation and other forms of meteorological phenomenon)

• ideal conditions for all materials represented

• considerably lower price

Tonči Borovac, PhD, consultant conservator-restorer Section for Wall Paintings, Mosaics and Stucco, Split Department for Conservation, Croatian Conservation Institute, tborovac@h-r-z.hrdr. sc. Tonči Borovac, konzervator-restaurator savjetnik, Odsjek za zidno slikarstvo, mozaik i štuko, Restauratorski odjel Split, Hrvatski restauratorski zavod, tborovac@h-r-z.hr

• shorter time for executing conservation and other mainte-nance work.

When an archaeological site in the open is arranged and main-tained, then it is much easier to incorporate it in the cultural land-scape or in projects which are important for economic develop-ment based on cultural heritage.

• kraće vrijeme izvođenja konzervatorsko-re-stauratorskih radova i održavanja.

Uređena i održavana arheološka nalazišta na otvo-renom mnogo je lakše integrirati u kulturni krajolik ili u projekte koji su važni za gospodarski razvoj ute-meljen na kulturnoj baštini.

17CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Tunisia, El Jem-Bir Zid, Maison de Lucius Verus. Lifted and relaid mosaic near total loss.

(Photo: Ermanno Carbonara, 2013)

Tunis, El Jem-Nir Zid, Maison de Lucius Verus. Podignut i ponovo postavljen mozaik, gotovo

potpuno uništen. (foto: Ermanno Carbonara, 2013.)

Konzervatorsko-restauratorske tehnike i etika s vre-menom se mijenjaju. Posljednjih nekoliko godina te-orija konzerviranja i restauriranja zagovara pristup s minimalnim intervencijama i načelo ponovljivosti. Isti pristup primjenjuje se i na području konzervira-nja i restauriranja mozaika, posebice mozaika s ar-heoloških nalazišta. Konzervatori-restauratori sve češće daju prednost zahvatima na mozaicima koji se, kad je to moguće, obavljaju in situ. Unatoč tomu, mo-zaici se još uvijek podižu.

Podizanje mozaika obično ima tri ishoda: pohranjiva-nje u depou, izlaganje (muzejska ili neka druga vr-sta izložbe) ili ponovno postavljanje na izvornu loka-ciju. Jedan od glavnih argumenata protiv podizanja mozaika je činjenica da podizanje s izvorne lokacije utječe na njegovo razumijevanje i shvaćanje cjeline čiji je on dio – prostorije, građevine, nalazišta. Iako ponovno postavljanje mozaika na izvornu lokaciju i novu podlogu mozaik vraća u izvorni kontekst, taj postupak još uvijek rezultira gubitkom materijala i, samim tim, važnih arheoloških podataka. Isto tako, dobro je poznato da su desetljeća neprimjerenih za-hvata podizanja i ponovnog postavljanja mozaika uzrokovala potpuni ili gotovo potpuni gubitak ne-brojenog broja mozaika. Katkad je podizanje mozai-ka neizbježno. Primjerice, zbog opasnosti od pljačke, namjerne ili nenamjerne devastacije, izgradnje, ili za-štitnih arheoloških iskopavanja, podizanje može biti jedini način spašavanja mozaika. No često se mozaici podižu jer su u iznimno lošem stanju te se konzer-vatorsko-restauratorski zahvati ne mogu izvesti na mjestu pronalaska.

Pozivajući se na primjere iz Tunisa, u ovom će se radu raspravljati o prednostima i nedostacima tre-tiranja i prezentacije mozaika in situ, kao i podizanja

In situ versus lifting: An analysis of the advantages and disadvantages of two approaches to the conservation of archaeological mosaics / Podići ili ostaviti in situ: analiza prednosti i nedostataka dvaju pristupa konzerviranju i restauriranju mozaika s arheoloških nalazišta

Conservation techniques, as well as conservation ethics, change through time. In recent years, conservation theory has moved to-wards minimal intervention and tenets such as repeatability. This movement applies to the field of mosaics conservation as well, par-ticularly archaeological mosaics. Increasingly, conservation pro-fessionals are prioritizing the treatment of mosaics in situ where possible. Despite this shift, mosaics are still being lifted.

Lifting mosaics typically results in three different outcomes: held in storage, presented in a museum or other type of exhibition, or relaid on site. One of the principal arguments against lifting mo-saics is the impact removing an archaeological mosaic from its location has on its legibility, and the understanding of the mosaic as part of something larger – a room, a building, a site. Although the last approach – replacing the lifted mosaic on site on a new bedding – does restore the mosaic to its context, it still results in the permanent loss of material – and, with it, crucial archaeolog-ical information. And, as is well-known, decades of inappropriate lifting and relaying techniques have resulted in the complete or near loss of untold numbers of mosaics. The lifting of mosaics is unavoidable at times. Due to, for example, the threat of looting, intentional or unintentional destruction, development, or salvage archaeological excavations, lifting may be the only way to save a mosaic. Often, however, lifting is done because the condition of the mosaic is considered too dire to treat in place.

Using examples from Tunisia, this paper will discuss the advan-tages and disadvantages of treating and presenting mosaics in situ and those of lifting mosaics for storage or display, and will argue that, in most cases, mosaics should be left in situ despite the level of condition.

Leslie Friedman, MSc, architectural conservator, the Getty Conservation Institute, lafriedman@getty.edumr. sc. Leslie Friedman, konzervator-restaurator arhitekture, Gettyjev institut za konzervaciju, lafriedman@getty.edu

mozaika radi pohrane ili izlaganja, argumentirajući stav da, u većini slučajeva, bez obzira na stanje u ko-jem se nalaze, mozaici trebaju ostati in situ.

19CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Stobi, narthex of the Episcopal Basilica. Detail of the mosaic surface

showing growth of vegetation in 2011. (Photo: Mishko Tutkovski)

Stobi, narteks episkopalne bazilike. Detalj površine mozaika s vidljivim

rastom vegetacije 2011. godine. (foto: Mishko Tutkovski)

Mozaici u narteksu episkopalne bazilike otkriveni su u arheološkim istraživanjima tridesetih godina 20. stoljeća. Nakon završetka istraživanja, mozaici su preventivno zaštićeni, prekriveni i zakopani. Ponov-no su otkopani sedamdesetih godina, zbog preven-tivne zaštite, nakon čega su opet prekriveni i potpu-no zanemareni.

Mozaici su ponovno otvoreni 2011. godine, kad su utvrđena teža strukturna oštećenja zbog njihova ne-održavanja prijašnjih desetljeća. Odmah nakon otva-ranja započelo je konzerviranje mozaika in situ, no neuspješno. Nezaustavljiv i nagli rast biljaka uništa-vao je sve slojeve mozaika, kao i stručne intervenci-je. Zbog toga je bilo nužno podići mozaike i nastaviti projekt na drugačiji način. Ovo izlaganje je rasprava o svim konzervatorsko-restauratorskim zahvatima izvedenima na navedenim mozaicima nakon njihova podizanja, postavljanja na pokretne podloge i vra-ćanja na izvornu lokaciju u narteks episkopalne ba-zilike.

Conservation of floor mosaics from the narthex of the Episcopal Basilica in Stobi / Konzerviranje i restauriranje podnih mozaika iz narteksa episkopalne bazilike u Stobiju

Mosaics in the narthex of the Episcopal Basilica were originally discovered during archaeological excavations in the 1930s and re-opened in the 1970s. Preventive conservation treatments such as cleaning, edge repairing and filling of lacunae were carried out in both the ʹ30s and the ʹ70s, after which the mosaics were covered and then completely neglected.

The mosaics were opened again in 2011, when we detected a lot of structural damage caused by the absence of maintenance dur-ing the previous four decades. Immediately after the opening, we started in situ conservation of the mosaics, but unfortunately this was an unsuccessful attempt. Unstoppable and rapid growth of vegetation, which had started right after the opening of the mo-saics, was destroying all the mosaic layers, including all our inter-ventions. Thus, we were forced to detach the mosaics and contin-ue the project in other directions. This presentation discusses all the conservation-restoration treatments that were carried out on these mosaics from their detachment, through setting on a mova-ble support and finally placing them back in situ, in the narthex of the Episcopal Basilica.

Mishko Tutkovski, archaeologist and mosaic conservator, National Institution Stobi, mishko.tutko@gmail.comMishko Tutkovski, arheolog i konzervator-restaurator mozaika, Državna ustanova Stobi, mishko.tutko@gmail.com

Stobi, narthex of the Episcopal Basilica. Orthophoto of the mosaic

after finalization of the conservation processes in 2016.

(Photo: Mishko Tutkovski)

Stobi, narteks episkopalne bazilike. Ortofotografija mozaika

nakon završetka konzervatorsko-restauratorskih zahvata 2016.

godine. (foto: Mishko Tutkovski)

21CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

Ljubljana, mosaic from Insula XIII. Empty spaces between frame and pavement filled with

polyurethane foam. (Photo: Petra Benedik)

Ljubljana, mozaik iz inzule XIII. Prazni prostori

između okvira i cementa ispunjeni poliuretanskom pjenom. (foto: Petra Benedik)

Tijekom arheoloških istraživanja prilikom obnove Slovenske ceste u Ljubljani pronađena je samostoje-ća stambena jedinica (Insula XIII). Podovi prostorija su bili izvedeni različitim žbukanim podnicama izra-đenim tehnikom opus signinum. S obzirom na to da je baština te vrste rijetka u Sloveniji, odlučeno je muze-alizirati tri otkrivene podnice.

Konzervatorsko-restauratorski zahvati započeti su na arheološkom nalazištu. Trebalo je dvije podnice, prevelike za obradu i prijevoz, izrezati na manje di-jelove. U Restauratorskom centru mehanički je oči-šćena i stanjena stražnja strana podnica te je konso-lidirana zaštitnim slojem žbuke. Unatoč tome što su dijelovi podnica stanjeni, još uvijek su bili teški. Kako bi se podnice lakše izložile i pohranile, trebalo je uzeti u obzir i konačnu veličinu složenih dijelova. Imajući to na umu, primijenjivani su najlakši materijali. Od-lučeno je da se upotrijebe aerolam ploče s aluminij-skom saćastom jezgrom debljine 30 mm koje pruža-ju iznimno laganu i čvrstu potporu. Za pojačanje su dodani aluminijski okvir i aluminijski profili na dnu. Kao ljepilo i punilo poslužila je poliuretanska pjena niske ekspanzije koja je trajna ako nije izložena UV zračenju. Pojedinačni dijelovi dviju izrezanih podnica konzervirani i restaurirani su tako da je moguće nji-hovo kasnije spajanje. Zbog različitih veličina agrega-ta i neravne površine podnice, dijelovi se razlikuju u debljini. Kako bi podnice bile na istoj razini, trebalo je izraditi laganu bazu za svaki dio, uzimajući u obzir njegovu debljinu. Dijelovi podnice zatim su zalijeplje-ni poliuretanskom pjenom na odvojene podloge koje će, kad se spoje, činiti cjelinu. Prazni prostori između okvira i podnice ispunjeni su poliuretanskom pjenom te je iznad nje postavljena dekorativna žbuka kao za-

Roman pavements displayed on lightweight supports with the use of polyurethane foam / Rimske podnice prezentirane na laganim podlogama uz upotrebu poliuretanske pjene

During extensive archaeological research upon renovation of in-frastructure along the Slovenska cesta road in Ljubljana, an inde-pendent dwelling (Insula XIII ) was discovered. The rooms were paved with differing mortar pavements, constructed using the opus signinum technique. Since such heritage has so far been rarely preserved and displayed in Slovenia, it has been decided to mu-sealise three of the discovered pavements.

We began conservation procedures at the archaeological site. Two of the pavements that were too big to be transported and worked on had to be cut into smaller pieces. At the Restoration Centre we mechanically cleaned the reverse side of the pave-ments, thinned them out and consolidated them with a protec-tive layer of mortar. Despite the fact that the pieces were thinned out as much as possible, the weight of the pavings was still con-siderably large. In order to display and store the pavings easily, we also had to consider the final size of the reassembled pieces. With this in mind, we had to use the lightest materials possible. We decided to use 30-mm-thick sandwich panel with aluminium honeycomb core, which is a very lightweight and sturdy support. For additional reinforcement we added an aluminium frame and aluminium profiles at the bottom. As an adhesive and filler we used low-expansion polyurethane foam, which is permanent if not exposed to UV light. Individual pieces of the two cut pavements were restored in a way that enables reassembly later on. Because of different aggregate size and uneven surface, the pieces varied in thickness. In order to obtain the same surface level, we had to create a lightweight base for each individual piece according to its thickness. Pieces of paving were then glued with polyurethane foam onto separate supports, which form a whole when put to-

Jelka Kuret, MA, conservator-restorer, Restoration Centre, Institute for the Protection of the Cultural Heritage of Slovenia, jelka.kuret@rescen.si; Petra Benedik, freelance landscape architect, Restoration Centre, Institute for the Protection of the Cultural Heritage of Slovenia, petra.benedik@gmail.commr. art. Jelka Kuret, konzervator-restaurator, Restauratorski centar, Zavod za zaštitu kulturne baštine Slovenije, jelka.kuret@rescen.si; Petra Benedik, samostalni krajobrazni arhitekt, Restauratorski centar, Zavod za zaštitu kulturne baštine Slovenije, petra.benedik@gmail.com

gether. Next we filled the empty spaces between frame and pave-ment with polyurethane foam and designed a decorative plaster on top of it to protect it from UV light. All the procedures were executed on the principle of reversibility.

štita od UV zračenja. Svi su postupci izvedeni prema načelima reverzibilnosti.

23CU

RREN

T CH

ALLE

NGES

OF

DETA

CHED

MOS

AICS

ON

MOV

ABLE

SUP

PORT

S / S

UVRE

MEN

I IZA

ZOVI

U R

ADU

S DE

MON

TIRA

NIM

MOZ

AICI

MA

NA P

OKRE

TNIM

POD

LOGA

MA

U proteklih 40 godina, otkad je u Rimu održan prvi tematski kongres posvećen isključivo zaštiti mozai-ka, konzervatorsko-restauratorska struka na tome je području znatno napredovala.

Unatoč tome, još se uvijek susrećemo s naslje-đem postupaka provedenih prije tog razdoblja, pa veoma često na arheološkim nalazištima ili u mu-zejskim zbirkama nailazimo na poteškoće koje su mučile skrbitelje o mozaicima i u vrijeme prvotne organizacije struke; mozaičke cjeline strapirane su bez detaljnog plana zaštite, čuvanja i prezentacije te su danas često prepuštene zaboravu i propada-nju.

Sagledavanju navedenoga problema može se pri-stupiti proučavanjem mozaičkoga naslijeđa Salo-ne, provincijskog središta rimske Dalmacije. Brojni istraživači Salone u proteklih dvjesto godina na ra-zličite su načine postupali s mozacima. Uz praksu konzerviranja i in situ zatrpavanja velikih mozaičkih cjelina, pojedini su primjerci strapirani i postavljani na teško pokretne armiranobetonske podloge koje najčešće, u sklopu sub divo muzejskih postava, da-nas ubrzano propadaju.

Cilj ovog rada je dati djelomičan presjek s informa-cijama o tehnikama konzerviranja i restauriranja u određenim povijesnim okolnostima, prošlim i aktu-alnim rješenjima za strapirane mozaike, te o suvre-menim izazovima i modelima prezentacije mozaika izdvojenih iz izvornoga okružja.

Uz materijalne mogućnosti koje danas imamo te tehnološka rješenja koja svakim danom postaju sve raznovrsnija i dostupnija, pitanje je možemo li i u kojoj mjeri popraviti počinjenu štetu?

Conservation models for mosaic preservation in ancient Salona – outdated solutions as a contemporary problem / Pregled konzervatorskih modela zaštite mozaika antičke Salone - zastarjela rješenja kao problemi današnjice

During the last 40 years, since the first thematic congress dedi-cated exclusively to mosaic protection was held in Rome, the pro-fession of conservation-restoration has advanced significantly in that field.

In spite of this, we have still not dealt with the legacy left be-hind by actions taken before that period, and so, at archaeolog-ical sites or in museum collections, we often confront difficulties that haunted the mosaic caretakers during the time of the pro-fession’s original organisation: mosaic ensembles detached from their original backing without a detailed plan of protection, safe-keeping and presentation, today often forsaken and deteriorating.

In a local context the problem can be approached by studying the mosaic heritage of Salona, the provincial centre of Roman Dalma-tia. Numerous investigators in Salona during the last two hundred years have attempted to go about these mosaics in different ways. Alongside the practice of conservation and in situ backfilling of large mosaic ensembles, some of them were detached and placed on difficult-to-move reinforced-concrete bases which are, often within sub divo museum exhibits, rapidly deteriorating today.

The aim of this paper is to offer a section view of the matter, one that provides information about conservation techniques in certain historical circumstances, and past and present solutions for detached mosaics, as well as contemporary challenges and presentation models for mosaics separated from their native sur-roundings.

With the material capabilities of our time, and technological solu-tions that grow more varied and accessible by the day, the ques-tion is whether we can repair the damage previously inflicted.

Krešimir Bosnić, conservator-restorer, Arts Academy of the University of Split, kbosnic1@gmail.com; Branko Matulić, PhD, consultant conservator-restorer, University of Split, branko.matulic@unist.hr; Nikola Radošević, conservator-restorer, Arts Academy of the University of Split, radniko@gmail.comKrešimir Bosnić, konzervator-restaurator, Umjetnička akademija Sveučilišta u Splitu, kbosnic1@gmail.com; dr. sc. Branko Matulić, konzervator-restaurator savjetnik, Sveučilište u Splitu, branko.matulic@unist.hr; Nikola Radošević, konzervator-restaurator, Umjetnička akademija Sveučilišta u Splitu, radniko@gmail.com

After exhibiting basic facts about the mosaics previously treated, the paper suggests some of the most modern solutions of presenta-tion through virtual, and even augmented, reality, with which we are able to recreate the original context of the detached mosaic, even in situations where it has previously been compromised, or even destroyed.

Nakon izlaganja osnovne faktografije o strapiranim mozaicima, radom se predlažu neka od najsuvre-menijih rješenja virtualne, pa čak i augmentirane prezentacije, kojima se može rekreirati izvorni kon-tekst strapiranog mozaika, čak i kad je on već naru-šen ili čak uništen.

25

Istanbul, Great Palace. Room A, unfinished – first integrations, 1989. (Photo: Peter Berzobohaty)

Istanbul, Velika Palača. Soba A, nedovršeno - prve integracije, 1989. (foto: Peter Berzobohaty)

Konzervatorsko-restauratorski projekt Mozaici Ve-like palače u Istanbulu (1983.-1990.), u kojemu su kao podloge za mozaike korišteni aluminijski saćasti paneli, kritički će rasvijetliti da je boja otkrivena na nalazištu katkad sinopia, no kod figuralnih prikaza mozaika, sasvim sigurno, ispod razine tesera nala-zi se višebojna slika. Takva višebojna slika, freska, bila je potpuno zanemarena pri podizanju mozaika između 1983. i 1985. godine (zbog netočnih analiza). Freska na pripremnoj žbuci trebala bi se smatrati najvažnijim umjetničkim slojem u postupku izrade mozaika. Ona se poslije prekriva slojem tesera pa je znanstvenici često zaborave. Uzgred će se prikazati i postupak odvajanja suvremenih mozaika sa zidova. U postupku se koristi dvoslojni facing (zaštitni sloj) - s jednim krutim i jednim fleksibilnim slojem - između kojih je sloj ekstrudirane pjene polistirena (stiropor); taj se sloj reže žicom kako bi se dva sloja facinga razdvojila. Rezanje kroz zidnu strukturu izvodi se di-jamantnom sajlom. Nove podloge izrađene su s jez-grom od aluminijskih saća. Naš stručni tim pobornik je očuvanja in situ; stoga je navedena metoda primje-njivana na već dotrajalim građevinama iz pedesetih i šezdesetih godina 20. stoljeća. Mozaici su odvojeni u segmentima, a veličina je varirala od pet do deset četvornih metara.

Na temelju stečenog iskustva, kod podizanja antič-kih podnih mozaika predlažemo rezanje kroz podni-cu mozaika dijamantnom sajlom. Premda je to, mož-da, složenija metoda od tradicionalnih, neće uništiti vrijedan sloj s freskom. Kao facing (zaštitni sloj) sa-vjetujemo BEVA ljepila i tkanine sa staklenim vlakni-ma. Ti su se materijali primijenili još 1983. godine kod podizanja mozaika Velike palače i dokazano su

Analytical view of detached mosaics / Analiza podignutih mozaika

The ‘Great Palace Mosaic’ conservation project in Istanbul (1983-90), using aluminium-honeycomb supports as backing, will be il-luminated critically: the colour found on site is sometimes sinopia, but at least in figurative mosaics, there is a polychrome painting underneath the tesserae. This fresco painting was totally ignored by the extraction team of 1983-85 (due to incorrect analyses). The fresco on the setting bed should be considered the most artistic layer in the process of making a mosaic. After the later superposi-tion of the tesserae, it is usually forgotten by scientists. Parenthet-ically, the detachment of modern mosaics from walls is shown. Twofold facing – one flexible, one rigid – is used with a layer of Styrofoam in between, later to be cut through with electric wire, which opens the two facings. Cutting through the wall is per-formed with diamond cables. A new support (backing) is con-structed on an aluminium-honeycomb base. Our team prefers preservations in situ, but this method is chosen in buildings from the 1950s or ’60s that are at the end of their lifespan. We cut mo-saics into sections of 5-10 m².

Having learned from this, for the extraction of ancient floor mo-saics we propose cutting through the floor with diamond cables. Though perhaps more complex than traditional methods, it will not destroy the valuable fresco layer. For the facing, we recom-mend BEVA and glass fabric. This has already been used – in 1983 for the lifting of the ‘Great Palace Mosaic’ – and proven to be effective. Infra-red lamps are used to dry the ground only at the right time of year, when salts that will be forced into the extracted mortar of the laying bed are lower in the ground.

Peter Berzobohaty, MA, freelance conservator, ACT – Advancing Conservation Tribe, pberzo@act-restaurierung.commr. art. Peter Berzobohaty, samostalni konzervator-restaurator, ACT - Advancing Conservation Tribe, pberzo@act-restaurierung.com

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

učinkoviti. Tlo se suši infracrvenim lampama samo u ono vrijeme godine kad se soli, koje bi mogle do-spjeti u gornje slojeve žbuke podnice, nalaze u du-bljim razinama poda.

27

Split Archaeological Museum. Mosaic depicting Triton presented in the lapidarium. (Photo: Antonija Gluhan)

Arheološki muzej u Splitu. Mozaički pano s prikazom Tritona izložen u lapidariju. (foto: Antonija Gluhan)

Podizanje mozaika s izvornog mjesta nije neuobiča-jena praksa u konzerviranju i restauriranju mozaika. Zahvati podizanja mozaika, potaknuti različitim ra-zlozima, na području Splita i okolice provode se od sredine 20. stoljeća. Prijašnji zahvati podrazumije-vali su montiranje podignutih segmenata mozaika na pripremljene cementne podloge, bilo da je riječ o nji-hovu povratku in situ ili prezentaciji na prijenosnim podlogama.

Danas su poznati škodljivi učinci armatura i portland cementa kod takvih podloga mozaika. Ovim radom prikazat će se stanje mozaika prezentiranih na po-kretnim podlogama Arheološkog muzeja u Splitu te mogućnosti odvajanja mozaika od cementne podloge na primjeru mozaika iz Dioklecijanove palače.

Arheološki muzej u Splitu čuva vrijedne mozaike antičke Salone koji su još tijekom arheoloških istra-živanja četrdesetih godina 20. stoljeća podignuti i montirani na pripremljene cementne podloge. Riječ je o mozaicima salonitanske škole-radionice mozai-ka nastalim tijekom 3. stoljeća. Mozaici su otkriveni dvadesetih godina 20. stoljeća u palači koja je vjero-jatno pripadala namjesniku provincije Dalmacije. Naj-reprezentativniji dijelovi mozaika podignuti su 1942. godine s izvornog mjesta, konzervirani i montirani na armirane cementne podloge. Prezentirani su kao dio stalnog postava muzeja: dva u lapidariju, a jedan na zidu predvorja zgrade muzeja.

Ostaci mozaičkih podnica smješteni su uz sjevero-istočni dio kora katedrale sv. Dujma, a nekada su krasili stambeni dio Dioklecijanove palače. Tijekom arheoloških istraživanja šezdesetih i sedamdese-tih godina 20. stoljeća dio mozaika bio je podignut i neprecizno vraćen na izvorno mjesto polaganjem

Mosaics with Portland cement supports: Selected examples from Split / Mozaici s podlogama rađenim portland cementom: odabrani primjeri u Splitu

Lifting of mosaics from the original archaeological setting is not an unusual practice in conservation. Procedures of lifting, caused by various reasons, in the area of Split and its surroundings, have been carried out since the middle of the 20th century. Earlier in-terventions involved the mounting of lifted mosaic segments on prepared cement supports, whether they were to be placed in situ or presented on movable supports.

We are familiar with the harsh influence of iron armature and Portland cement as a material for mosaic supports. This work will present the state of mosaics presented on movable supports at the Split Archaeological Museum and the possibility of separating the mosaic from the cement base following the example of the mosaic from Diocletian’s Palace.

The Split Archaeological Museum holds valuable mosaics from ancient Salona which were lifted and mounted on prepared ce-ment supports during the archaeological excavations in the 1940s. The mosaics were created in the 3rd century by the Salona mosaic school/workshop. They were discovered in the 1920s in what is assumed to be the palace of the governor of the Roman province of Dalmatia. The most representative parts of the mosaics were de-tached from their original place in 1942, conserved and mounted on new supports made of reinforced concrete. They are presented as part of the permanent collection of the Museum, two in a lapi-darium and the third on the wall of the museum’s lobby.

The remains of ancient mosaic floors are preserved along the northeast part of the choir of St. Domnius’s Cathedral and were a decoration of the residential part of Diocletian’s Palace. Dur-ing the archaeological research in the 1960s and ’70s, part of the

Antonija Gluhan, MA, conservator-restorer, Section for Wall Paintings, Mosaics and Stucco, Split Department for Conservation, Croatian Conservation Institute, agluhan@h-r-z.hrmr. art. Antonija Gluhan, konzervator-restaurator, Odsjek za zidno slikarstvo, mozaik i štuko, Restauratorski odjel u Splitu, Hrvatski restauratorski zavod, agluhan@h-r-z.hr

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

mosaic was lifted and returned in situ by implanting it on rein-forced-concrete bedding. Today the mosaic surfaces are presented in situ without shelter. In order to perform the mosaic’s reconstruc-tion it was necessary to reposition the mosaic segments: a demand-ing task full of challenges, and needing to be performed with ex-treme caution.

u armiranu cementnu podnicu. Danas su mozaič-ke površine prezentirane in situ na otvorenom bez natkrivanja. Da bi se provela rekonstrukcija u teh-nici mozaika, bilo je nužno repozicionirati mozaičke segmente, što je zahtjevan zadatak prepun izazova kojemu treba pristupiti osobito oprezno.

29

Pri iskopavanjima antičkih gradova Pompeja i Her-kulaneja tijekom 18. stoljeća otkrivene su mnoge do-bro sačuvane zidne slike i mozaici koji su ukrašavali zidove i podove antičkih građevina. Nakon erupcije Vezuva 79. g. n. e. bili su prekriveni pepelom. Na-vedena iskopavanja znatno su utjecala na europsku povijest umjetnosti, a zbog velikog zanimanja javno-sti za spomenute zidne slike i mozaike, vlasti su mo-rale omogućiti pristup brojnim posjetiteljima.

Bilo je to vrijeme početka industrijske revolucije, a otkrića novih materijala potaknula su razvoj novih tehnika prezentacije tih pronalazaka. Od početka 19. stoljeća razvijeni su različiti pristupi konzerviranju i restauriranju dijelova mozaika na pokretnim pod-logama.

U prethodnim konzervatorsko-restauratorskim za-hvatima obično su upotrebljavani žbuka od portland cementa i različite kombinacije vapna i aditiva, po-vremeno s metalnim armaturama. Takve su prak-se napuštene zbog razvoja novih materijala i njiho-va djelovanja. S vremenom se pokazalo da portland cement nije kompatibilan s vapnenom žbukom jer je tvrđi, manje fleksibilan i nepropustan. Pojavom novih materijala postale su dostupne alternativ-ne podloge i metode zamjene starih materijala ae-rolam-pločama od tanke stakloplastike – plastični je materijal u sredini, a na stranicama aluminijski okvir. Stručne rasprave o prednostima i nedostaci-ma različitih metoda počele su nakon prvih konzer-vatorsko-restauratorskih intervencija.

Konzervatorsko-restauratorski postupci su visokos-pecijaliziran posao. Cilj je sačuvati i otkriti estetsku i povijesnu vrijednost spomenika, poštujući izvorne

Examples and problems within presentation of mosaic fragments on removable media supports / Primjeri i problemi prezentacije dijelova mozaika na podlogama od reverzibilnih materijala

Excavations of the ancient towns of Pompeii and Herculaneum during the 18th century discovered a large number of beautiful well-pre-served wall paintings and mosaics decorating the walls and floors of Roman buildings. They were covered by ash during the erup-tion of Mount Vesuvius in AD 79. These excavations had a big im-pact on the art history of Europe. Due to the huge interest of the public in this revealed beauty of mosaics and wall paintings, the authorities needed to allow access to a large audience.

It was the beginning of the Industrial Revolution, and with the development of new materials there were new possibilities and techniques for the presentation of these new findings. Various ap-proaches for the conservation of mosaic fragments on movable sup-ports have been developed since the beginning of the 19th century.

In previous conservation treatments mortar of Portland cement and various combinations of lime and additives were used, some-times with metallic reinforcements. This practice, however, was abandoned with the development of new knowledge of the materi-als and their behaviour through time. Portland cement has proven to be incompatible with lime mortar because it is harder, less flex-ible, and impermeable. With the development of new materials, other alternative backing systems and methods are now available in order to replace old materials with Aerolam panels made of thin fibreglass, a plastic material in the middle, and aluminium framing over the sides. Ever since the first conservation intervention there has been discussion between experts regarding different methods.

The process of conservation is a highly specialized operation. Its aim is to preserve and reveal the aestheticand historic value of the monument and is based on respect for the original material

Nikola Upevche, freelance conservator-restorer, nikolaupevce@yahoo.com Nikola Upevche, samostalni konzervator-restaurator, nikolaupevce@yahoo.com

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

and authentic documents. Cesare Brandi, in his Theory of Res-toration, describes restoration as “the methodological moment in which the work of art is appreciated in its material form and in its historical and aesthetic duality, with a view to transmitting it to the future”.

materijale i dokumente. Cesare Brandi, u svojoj Teo-riji restauracije, opisuje restauraciju kao „metodološ-ki trenutak u kojem se umjetničko djelo cijeni u svo-jem materijalnom obliku te u povijesnoj i estetskoj dvojnosti s ciljem prenošenja u budućnost“.

31

Umag, Katoro. Part of a mosaic from an ancient villa during excavation. Today

covered. (Photo: Štefan Mlakar, Archive of the Archaeological Museum of Istria)

Umag, Katoro. Dio mozaika iz antičke vile tijekom iskopavanja. Danas je

prekriven. (foto: Štefan Mlakar, arhiva Arheološkog muzeja Istre)

Područje Istre bilo je pod rimskom vladavinom od 177. godine pr. n. e. sve do 4. stoljeća. U tom raz-doblju na području poluotoka nastali su i razvijali se mnogi gradovi, ali i rustične vile koje su većinom bile smještene duž zapadne obalne linije. Dok su se gra-dovi donekle sačuvali i razvijali kroz povijest, vile su uglavnom izgubile svoju funkciju, bile su napu-štene i uništene, katkad namjerno u svrhu ponovnog korištenja materijala, a katkad prirodnim procesima propadanja.

Ipak, ne postoji otkrivena vila na području Istre u ko-joj nije bilo mozaičkih fragmenata. Ljubitelji povijesti i arheolozi dokumentirali su mnogobrojna takva na-lazišta. Ponekad su donosili iscrpne podatke o mo-zaicima, njihovoj lokaciji, tipologiji i bojama. Ponekad su dali tek bilješku o mnogobrojnim teserama s na-lazišta. Česte su, međutim, situacije u kojima prona-lazak mozaika nije popraćen objavom, nego samo in-ternim izvještajem. U većini slučajeva radi se o vrlo jednostavnim mozaicima, bijelima ili crnima s jedno-stavnom bordurom, o ulomcima mozaika koji su pre-mali da bi kvalitetno pridonijeli analizi samoga nala-zišta ili se pak radi o zanimljivim mozaicima koji iz nepoznatih razloga nikad nisu obrađeni. Postoji ta-kođer nekoliko mozaika pronađenih posljednjih go-dina koji čekaju na objavu, ali ih je primarno obradio Konzervatorsko-restauratorski odjel Arheološkog muzeja Istre, odnosno autorica predavanja. Istraži-vanjem starih izvještaja i fotografija iz Dokumenta-cijskoga odjela Arheološkog muzeja Istre potvrđe-no je nekoliko nepoznatih i neobjavljenih mozaika s raznih nalazišta u Istri i Puli. Istarska su nalazišta: Karpinjan, Katoro-Tijola, Limski kanal, Lovrečica, Pomer, Sorna i Vrsar. Manje poznata ili nepoznata

Sites in Istria with ancient mosaics: an overview / Pregled nalazišta s antičkim mozaicima u Istri

The region of Istria was under Roman rule from 177 BC till the 4th century. During this period the peninsula saw the rise and fall not only of towns but also of many rural villas, most of which were located on the western coastline. While the towns somehow survived and developed through history, the villas were disused, abandoned, sometimes destroyed for the reuse of materials, and sometimes just destroyed by time and nature.

However, there is not one ancient villa discovered in the region that has not yielded at least some mosaic fragments. History lovers and archaeologists have documented many of these sites. Some-times they were able to give exhaustive data about the mosaics, their location, type and colours. Sometimes there are just notes on the many mosaic tesserae around the site. However, there are often situations in which the finding of a mosaic is accompanied not by a publication, but only by an internal report. In most cas-es, this is for very simple mosaics, white or black with a simple frame, fragments of mosaics that are too small to contribute to the analysis of the site itself, or about interesting mosaics that have never been studied, for reasons unknown. There are also a num-ber of mosaics found during recent years awaiting publication but which have been primarily treated by the Conservation Depart-ment of the Archaeological Museum of Istria, i.e. by the author of the lecture. Through research on old reports and photographs kept in the Documentation Department of the Archaeological Museum of Istria, it has been found that there are several uniden-tified and unpublished mosaics at various locations in Istria and Pula. The Istrian finds are Karpinjan, Katoro-Tijola, Lim Chan-nel, Lovrečica, Pomer, Sorna and Vrsar. The lesser-known or un-known sites in Pula are the Circolo site, street Glavinićeva ulica 6,

Đeni Gobić-Bravar, senior restorer, Archaeological Museum of Istria, geni.gobic.bravar@gmail.com Đeni Gobić-Bravar, viša restauratorica, Arheološki muzej Istre, geni.gobic.bravar@gmail.com

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

street Istarska ulica, street Kandlerova ulica, and street Ulica JNA. The mosaics will be displayed in a clear way to enrich the knowledge of the large number of mosaics that once depicted the richness of the ancient architecture of the Istrian peninsula. A map of Istria, marked with all the sites where the presence of mosaics has been recorded, will be made in order to present every locality docu-mented so far.

nalazišta u Puli jesu: Circolo, Glavinićeva ul. 6, Istar-ska ulica, Kandlerova ulica, Ulica JNA. Mozaici će biti pregledno prikazani kako bi se obogatila sazna-nja o velikom broju mozaika koji su nekoć odražavali bogatstvo antičkih arhitektonskih zdanja istarskog poluotoka. U izradi je karta Istre s označenim na-lazištima mozaika, kako bi se prezentiralo svako do sada dokumentirano nalazište.

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

33

Pula, Basilica of St Maria Formosa. Mosaic with motifs of a wicker basket with fruit and two

waterbirds. (Photo: Jovan Kliska)

Pula, bazilika sv. Marije Formoze. Mozaik s motivom pletene košare s plodovima i dvije

ptice močvarice. (foto: Jovan Kliska)

Bazilika sv. Marije Formoze u Puli je, uz starokršćan-ski kompleks biskupa Eufrazija u Poreču, najvažniji sakralni spomenik sa sačuvanim mozaicima na tlu Hrvatske iz vremena Justinijanove rekonkviste. Od prvog istraživanja A. Gnirsa početkom 20. stoljeća do danas, u fundusu Arheološkog muzeja Istre prikuplje-no je više fragmenata mozaika, koji su konzervirani i prezentirani na pokretnim podlogama različitim me-todama. Više ulomaka podnog mozaika pronađeno je na prostoru sjevernog i središnjeg broda te u sje-vernoj sakristiji. Najpoznatiji zidni ulomak s prikazom Traditio legis nalazio se u apsidi južnog mauzoleja.

U sklopu višegodišnjeg sustavnog istraživanja koje su proveli djelatnici Arheološkog muzeja Istre, a s ciljem stvaranja arheološkog parka, u istočnom dijelu juž-nog broda 2016. godine otkrivena su dva fragmenta podnog mozaika. Veći fragment ukrašen je simetrič-nim, geometrijskim i stiliziranim vegetabilnim motivi-ma (list vinove loze i kvadrati povezani pletenicom). Manji fragment ukrašen je motivom pletene košare s plodovima voća, a bočno su prikazane dvije ptice mo-čvarice. Mozaici su pronađeni neposredno ispod sloja humusa, što je bilo presudno u donošenju odluke da se fragmenti demontiraju i prezentiraju na pokretnoj podlozi. Radovi odvajanja mozaika od podloge poče-li su izradom dokumentacije zatečenog stanja i povr-šinskim uklanjanjem sloja tvrde kalcificirane žbuke, nakon čega je na površinu apliciran facing (zaštitni sloj). Mozaik je potom odvojen od podloge i prenesen u radionicu gdje je konzerviran i restauriran, ponovo spojen u cjelinu i prezentiran na pokretnoj aerolam podlozi prema današnjim načelima struke.

Pregledom svih fragmenata mozaika postavlja se pi-tanje načina prezentacije. Sagledavajući povijest za-

Fragments of the floor mosaic from the Basilica of St Mary Formosa in Pula – an example of various approaches to historical and contemporary presentation / Ulomci podnog mozaika iz bazilike sv. Marije Formoze u Puli – primjer različitih pristupa prezentaciji u prošlosti i danas

The Basilica of St Mary Formosa in Pula is, alongside the early Christian complex of Bishop Euphrasius in Poreč, the most im-portant sacred monument with preserved mosaics from the period of Justinian’s reconquest. Since the beginning of the 20th centu-ry, when A. Gnirs began the first research, several fragments of the mosaic have been collected and stored in the holdings of the Archaeological Museum of Istria. They have been preserved and presented on moveable supports using various techniques. Several fragments of the floor mosaic were found in the north and central nave, and in the north sacristy. The most famous fragment, de-picting Traditio legis, was found in the apse of the south mausoleum.

In 2016, as part of a multi-annual systematic research project led by the Archaeological Museum of Istria with the intention of cre-ating an archaeological park, two fragments of the floor mosaic were discovered in the eastern part of the south nave. The larger fragment was ornamented with symmetrical, geometric, and styl-ised vegetative motifs (grapevine leaves and squares connected by a knot), while the smaller fragment was decorated with a wicker bas-ket filled with fruit flanked by two water birds. The fragments were found directly beneath the humus layer, a fact that led to the deci-sion to lift them and present them on a moveable support. The lift-ing of the mosaics began with the documentation of the condition they were found in and removal of the calcified mortar. After that, a facing was applied to the surface. The mosaic was then careful-ly lifted and transferred to the workshop, where it was conserved, re-assembled and presented on a moveable Aerolam support, fol-lowing modern professional standards.

In reviewing all the fragments of the mosaic, one can question how to present them. With regard to the history of mosaic preservation

Toni Šaina, conservator-restorer, Department for Wall Paintings and Mosaics, Croatian Conservation Institute, tsaina@h-r-z.hr; Željko Ujčić, senior curator, Archaeological Museum of Istria, zeljko.ujcic@ami-pula.hr Toni Šaina, konzervator-restaurator, Odjel za zidno slikarstvo i mozaik, Hrvatski restauratorski zavod, tsaina@h-r-z.hr; Željko Ujčić, viši kustos, Arheološki muzej Istre, zeljko.ujcic@ami-pula.hr

on this site, experts have always aimed to preserve the cultural her-itage by implementing technologies and materials available at the time. The museum building is currently under renovation, with plans to create an exhibition of all the mosaics from the basilica and place them in one room. Therefore, it is necessary to devise a pres-entation that would enable easier understanding of smaller frag-ments that were once in different parts of the basilica. The selection of new materials and techniques is the result of experience gained over the years and seeks to extend the lifespan of the artwork.

štite mozaika toga nalazišta, stručnjacima je uvijek bio cilj očuvati kulturnu baštinu, pritom se koriste-ći tehnologijama i materijalima karakterističnima za vrijeme u kojem se primjenjuju. U tijeku je adaptacija zgrade Muzeja, pa se planira da se na jednome mje-stu izlože svi mozaici pronađeni u bazilici. Stoga je potrebno osmisliti prezentaciju tako da se olakša čita-nje fragmenata koji su se nekad nalazili na različitim dijelovima bazilike. Odabir novih materijala i metoda rada rezultat je iskustava stjecanih dugi niz godina, kojim se nastoji produljiti životni vijek umjetnine.

35PA

ST A

ND P

RESE

NT S

OLUT

IONS

FOR

DET

ACHE

D M

OSAI

CS /

DEM

ONTI

RANI

MOZ

AICI

U P

ROŠL

OSTI

I SA

DAŠN

JOST

I

Original Roman mosaic tesserae placed on an aluminium honeycomb panel and layers of new plaster during conservation treatment at the Academy of Fine Arts and Design. (Photo: Blaž Šeme)

Izvorne tesere rimskog mozaika postavljene na ploču s aluminijskom saćastom jezgrom i slojevi nove žbuke prilikom konzervatorsko-restauratorskih zahvata na Akademiji likovnih umjetnosti i dizajna. (foto: Blaž Šeme)

Ovo izlaganje donosi pregled materijala upotreblja-vanih za izradu pokretnih podloga za demontirane mozaike u Sloveniji od kraja 19. stoljeća. Odabrana tema mogla bi biti zanimljiva istraživačima, struč-njacima i studentima konzervatorsko-restaurator-skog usmjerenja jer dosad nije bila dovoljno prouča-vana, a mogla bi pridonijeti povijesti konzerviranja i restauriranja mozaika u Sloveniji.

Osnovni je cilj ovog rada proučiti upotrebu različi-tih pokretnih podloga, kao i primijenjenih materijala i tehnika u zahvatima na poleđini mozaika i za lijeplje-nje podignutih mozaika. Postoje materijali i pristupi karakteristični za određeno razdoblje (poput ukla-njanja donjih slojeva izvorne žbuke, izrade podloge od privremenog materijala i konsolidacija na poza-dinu fragmenta mozaika, srednji „interventni“ sloj, materijal za lijepljenje), a svaki ima prednosti i nedo-statke. Zanimljivo je i ispitati kako se čuvaju mozaici na pokretnim podlogama te kako se (ako uopće) jav-no izlažu u muzejima i galerijama.

Osim toga, razmotrit će se i istaknuti najnoviji tren-dovi i smjernice u razvoju konzerviranja, restauri-ranja i prezentacije te prezentacije podignutih mo-zaika.

Glavni rezultat istraživanja jest uvid u prošlu i sa-dašnju upotrebu materijala i tehnika za fiksiranje podignutih mozaika na privremene ili trajne pokret-ne podloge u Sloveniji. Izlaganjem će se predstaviti najzanimljiviji primjeri i navesti priznati konzervato-ri-restauratori.

A historical overview of movable supports for detached mosaics in Slovenia / Povijesni pregled pokretnih podloga za demontirane mozaike u Sloveniji

The lecture reviews the materials used as movable supports for detached and transferred mosaics in Slovenia since the late 19th century: a topic that may be of interest to researchers, profession-als and students of conservation, but which has not yet been suf-ficiently studied and could contribute a little to the history of the conservation of mosaics in Slovenia.

The basic goal of the work is to study the use of various movable supports, and also materials and methods used for the back treat-ment and gluing of detached mosaics. There are materials and approaches (e.g. removal of bottom layers of the original plaster, temporary support material and consolidation on the back of the mosaic fragment, an intermediate ‘intervention’ layer, material for gluing) that are typical of certain periods, with their advantages and disadvantages. It is also interesting to examine how mosaics on movable supports are stored and how (if at all) they are publicly exhibited in museums and galleries.

In addition, the latest trends and directions of development in con-servation presentation of detached mosaics are examined and un-derlined.

The main result of the research work is an insight into the past and present use of materials and techniques for fixing detached mosa-ics on temporary or permanent movable supports in Slovenia. The lecture presents the most interesting examples and mentions some noticeable conservator-restorers.

Blaž Šeme, PhD, assist. prof. and conservator-restorer, Academy of Fine Arts and Design, University of Ljubljana, blaz.seme@aluo.uni-lj.si dr. sc. Blaž Šeme, docent i konzervator-restaurator, Akademija likovnih umjetnosti i dizajna, Sveučilište u Ljubljani, blaz.seme@aluo.uni-lj.si

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

37

Risan, Roman villa (3rd century). Remains of the floor mosaic depicting Hypnos. (Photo: Dobrila Vlahović)

Risan, rimska vila (3. stoljeće). Ostaci podnog mozaika s prikazom Hipnosa. (foto: Dobrila Vlahović)

Posebnu vrijednost crnogorske kulturne baštine čine rijetki primjerci antičkih, rimskih i ranokršćan-skih mozaika, koji višestoljetnim postojanjem upu-ćuju na bogatu povijest i kulturu Crne Gore. Nađe-ni su uglavnom na crnogorskom primorju, naročito na području Općine Budva i Bokokotorskog zalje-va. Integralni su dio pojedinih starih urbanih cjelina (Stari grad Budva, Risan...) ili atraktivnih lokacija (Mirište u Petrovcu).

Zbog izuzetnih kulturno-povijesnih vrijednosti neki su mozaici zakonom zaštićeni i imaju status kul-turnog dobra. Njihova je zaštita iznimno važna za očuvanje u izvornom obliku i u budućnosti. U zašti-ti mozaika presudan je pravilan pristup. Uvijek se traži i primjenjuje konzervatorska metoda koja će za određeni mozaik dati najbolje rezultate; načini realizacije takvog zahtjevnog postupka ovise o po-jedinačnom mozaiku. U literaturi je opisano mnogo metoda. Neke su široko prihvaćene i daju odlične rezultate, dok se neke zbog svoje specifičnosti pri-mjenjuju rijetko i samo kad se ocijeni da su stvoreni uvjeti za njihovo izvođenje.

Mozaike nastojimo sačuvati in situ, međutim kad su ugroženi i prijeti im nestanak, nužno je strapiranje i primjenjuje se metoda transpozicije na novu pod-logu.

U Crnoj Gori od posljedica katastrofalnog potre-sa 1979. godine stradali su brojni kulturni objekti, pa i mozaici. Na osnovi konzervatorskih interven-cija državnih institucija u suradnji sa stručnjacima UNESCO-a, od kraja prošloga stoljeća do danas provedene su opsežne mjere zaštite, s ciljem revi-talizacije i obnove ugroženog područja. No tijekom

Approaches to the protection and preservation of the cultural and historical values of mosaics in Montenegro / Pristupi u zaštiti i očuvanju kulturno-povijesnih vrijednosti mozaika u Crnoj Gori

The special value of Montenegrin cultural heritage is a rare exam-ple of Antique, Roman and early Christian mosaics, which, with their many centuries of existence, point to the rich history and culture of this area. They are located mostly on the Montenegrin coast, especially in the area of the Budva municipality and the Bay of Kotor. They represent an integral part of each of the old urban units (Budva Old Town, Risan ...) or attractive locations (Mirište in Petrovac).

Because of their outstanding cultural and historical values, some are legally protected and possess the status of cultural property. Their protection and preservation are of the utmost importance, to be transmitted to future generations in authentic appearance. Prop-er access to protection and preservation is of crucial importance. It is always sought and applied by a conservation method that will give the best results. How and in what way this demanding procedure can be implemented can not be solved for all cases in the same way, or by some regulation, but must be solved from case to case. Many different methods are described in the literature. Many are widely accepted and give excellent results, while some methods, because of their specificity, apply rarely and only when they are judged to have acquired certain conditions for their performance.

We try to keep the mosaics on the spot (in situ), but in cases where they are endangered and threatened with disappearance, strap-ping is necessary and a transposition method is applied to the new substrate.

In Montenegro, in the catastrophic earthquake of 1979, many ob-jects and mosaics were damaged. Based on the conservation in-terventions carried out by government institutions in cooperation

Dobrila Vlahović, conservator-restorer, expert consultant for immovable cultural heritage, Ministry of Culture of Montenegro, dobrila.vlahovic@mku.gov.me Dobrila Vlahović, konzervator-restaurator, stručni savjetnik za nepokretnu kulturnu baštinu, Ministarstvo kulture Crne Gore, dobrila.vlahovic@mku.gov.me

with UNESCO experts, since the end of the last century until to-day, further extensive protection measures have been carried out, with the aim of revitalizing and restoring the threatened area, but during the conservation works new discoveries have been made, among them fragments of floor mosaics. Various methods of pro-tection have been applied for their conservation.

sanacijskih radova došlo se do novih otkrića, među kojima su i fragmenti podnih mozaika. U cilju nji-hova očuvanja primjenjivane su različite metode zaštite.

39PA

ST A

ND P

RESE

NT S

OLUT

IONS

FOR

DET

ACHE

D M

OSAI

CS /

DEM

ONTI

RANI

MOZ

AICI

U P

ROŠL

OSTI

I SA

DAŠN

JOST

I

Na prostoru današnje Bosne i Hercegovine do danas je otkriveno oko 50 mozaičkih površina. Pretpostav-lja se da je na nekim nalazištima, poput Ljubomira u Hercegovini ili objekta Suvaja u sjeverozapadnoj Bosni, također bilo mozaika, ali je stupanj devastaci-je bio tolik da se ni jedan segment nije sačuvao osim tesera, koje svjedoče o postojanju mozaika.

Mozaici na tlu Bosne i Hercegovine pronađeni su po-najprije na nalazištima rimskih vila manjih i većih dimenzija i rjeđe na nalazištima termi, pa se može ustvrditi da su bile vrlo često neizostavan dio stam-bene arhitekture. Među najbogatije, ali i najmnogo-brojnije primjerke mogu se uvrstiti mozaici s nalazi-šta velike vile Višići kod Čapljine. Na tom je nalazištu bilo 15 većih i manjih vrlo reprezentativnih mozaika. Osim tog objekta, arheološki je zanimljiva još jedna vila na nalazištu Panik kod Bileće. Ondje je pronađen također znatan broj mozaika, devet. Uz ta dva repre-zentativna objekta, mozaici su pronađeni i na nalazi-štima urbanog naselja Aqua S... nedaleko od današ-njega Sarajeva. Na tom nalazištu pronađeno je u više odvojenih objekata urbane vile i hospicija 12 mozaika. Područje Stoca u Hercegovini također je mjesto otkri-ća vrlo dobro izvedenih mozaika. U više manjih vila pronađeno je osam primjeraka mozaika. Manji broj mozaika pronađen je i na nalazištima velikog urba-nog i administrativnog središta Domavija u sjeveroi-stočnoj Bosni, gdje su pronađena dva mozaika; na na-lazištu u Sarajevu pronađen je jedan primjerak i na nalazištu vile Tišina kod Zenice pronađeni su ostaci dvaju mozaika. Temeljem analize pronađene fotodo-kumentacije utvrđeno je postojanje još jednog mozai-ka koji je razmjerno dobro očuvan. Posljednjih godina na nalazištu Skelani u općini Srebrenica, u sjevero-

Condition and vulnerability of Roman mosaics in Bosnia and Herzegovina / Stanje i ugroženost rimskih mozaika na tlu Bosne i Hercegovine

Some fifty mosaics have been discovered to date in Bosnia and Herzegovina. Some sites, such as Ljubomir in Herzegovina, or Suvaja in north-western Bosnia, probably also had mosaics, but these were so badly damaged that their presence is indicated only by tesserae.

Mosaics have been found in Bosnia and Herzegovina mainly at the sites of Roman villas, large and small, with only a few in Ro-man baths, from which it may be concluded that they were com-monly an essential feature of residential architecture. The finest, and also the most numerous, mosaics include those of the large Višići villa near Čapljina, where there were fifteen very fine mo-saics of various sizes. Another villa of note is the one at Panik near Bileća, where nine mosaics were found. Others have been found at sites in the urban settlement of Aqua S..., not far from present-day Sarajevo: twelve mosaics were found there in several urban vil-las and hospicia. Stolac, in Herzegovina, is another site where a total of eight finely worked mosaics were found in a number of small villas. In addition, two mosaics were found at the site of the major urban and administrative centre of Domavia in north-east-ern Bosnia, one in Sarajevo, and the remains of two at the site of the Tišina villa near Zenica. A study of photographic documenta-tion has revealed the presence of yet another mosaic in a relatively good state of preservation. In recent years the site of Skelani, in Srebrenica municipality, north-eastern Bosnia, has yielded a large mosaic, part of a substantial public edifice in the urban centre known as Municipium Malvesiatium.

The fate of the mosaics at these sites differ according to the states of affairs at the time of the archaeological excavations, as well as immediate knowledge of plans for the site. To save the mosaics

Prof. Adnan Busuladžić PhD, Department of Archaeology, Faculty of Philosophy, University of Sarajevo, adnan.busuladzic@ff.unisa.baprof. dr. sc. Adnan Busuladžić, Katedra za arheologiju, Filozofski fakultet Univerziteta u Sarajevu, adnan.busuladzic@ff.unisa.ba

when the site at Panik was flooded and a large reservoir was cre-ated, they were removed and re-laid at the National Museum of Bosnia and Herzegovina, where they remain. They consist of sev-eral pieces of a large mosaic from a building with a cruciform foot-print, and another from a corridor. The remaining mosaics were too badly damaged to be removed. Those that were taken to the National Museum are in good condition, and in 2008 a number of them were conserved and framed, forming part of a large the-matic exhibition, “The art of Roman mosaics in Bosnia and Her-zegovina”. The National Museum also houses mosaics from Stol-ac and part of a mosaic from Aqua S… near Sarajevo. In addition, the Zenica City Museum also houses fragments of two mosaics. Mosaics remaining in situ include those of the urban villa at Aqua S… near Sarajevo, a mosaic composed of the repeating geometric motif of the swastika or meander at Putovići villa near Zenica, a mosaic in a large public edifice in Skelani near Srebrenica, and in particular the mosaics at Višići near Čapljina. These last are in very poor condition, the entire site being within an area of inten-sive farming, which poses a serious threat to these mosaics. The Višići mosaics are also at risk from frequent flooding in the area, when local residents have to use boats to get about. The mosaic discovered a few years ago at Skelani is the best preserved. This has been the subject of detailed studies, analysis, treatment, recon-struction and conservation, and the entire site is well cared for. It is a great pity that, apart from reconstructions and poor-quality black-and-white photographs, there remains no evidence of the condition of the mosaics at some of the sites named above. Further investigations are needed to review the situation at all these sites, and where necessary the surviving mosaics should be lifted and re-moved to museums. The mosaics that have been so treated to date are in relatively good condition, and are maintained by conserva-tors and archaeologists.

istočnoj Bosni, otkriven je mozaik velikih dimenzija; bio je dio velike javne zgrade u urbanom sjedištu po-znatom kao Municipium Malvesiatium.

Sudbina mozaika na navedenim mjestima je razli-čita, ovisno o situaciji u arheološkim istraživanji-ma, ali i o neposrednim saznanjima o planovima s nalazištem. Zbog potopljenog područja i stvaranja umjetne vodene aglomeracije, mozaici s nalazišta Panik su izvađeni i dopremljeni u Zemaljski muzej Bosne i Hercegovine, gdje se i danas nalaze. Riječ je o većem broju komada jednog velikog mozaika iz tzv. zgrade križne osnove i još jednog primjer-ka iz hodnika. Ostali su mozaici bili toliko devasti-rani da je njihova dislokacija bila nemoguća. Moza-ičke površine koje su prenesene u Zemaljski muzej Bosne i Hercegovine u dobrom su stanju. Godine 2008. znatan broj je konzerviran, restauriran i uo-kviren te izložen na velikoj tematskoj izložbi „Umjet-nost antičkih mozaika na tlu Bosne i Hercegovine”. U prostorima Zemaljskog muzeja nalaze se i moza-ici iz Stoca te dio mozaika s Aqua S... kod Saraje-va. U Muzeju grada Zenice pohranjeni su fragmenti dvaju mozaika. In situ su ostali mozaici rimske ur-bane vile na nalazištu Aqua S... u okolici Sarajeva, mozaik ponavljanog geometrijskog motiva svasti-ke-meandra na nalazištu vile Putovići kod Zenice, velikog javnog objekta u Skelanima kod Srebrenice te mozaici na nalazištu Višići kod Čapljine. Potonji su u vrlo lošem stanju jer se cijela površina nalazi na obuhvatu intenzivne poljoprivredne proizvodnje i obrade zemljišta, što vrlo ozbiljno ugrožava mo-zaike. Tome pridonose i razmjerno česte poplave u višićkom kraju, kad se i okolno stanovništvo mora koristiti čamcima za komunikaciju u naselju. Može se reći da je u najboljem stanju in situ primjerak ot-kriven prije nekoliko godina na nalazištu Skelana. Ta je mozaička površina predmet detaljnih radova, analiza, tretmana, rekonstrukcija i konzerviranja, a cijelo je nalazište i dobro zbrinuto. Velika je šteta što osim rekonstrukcija i loših crno-bijelih fotografi-ja nemamo nikakav trag o stanju mozaika na nekim od navedenih nalazišta. Situacija na terenu zahtije-va revizijska istraživanja i gdje god je nužno vađe-nje preostalih mozaika i njihovu dislokaciju u muzej-ske ustanove. Mozaici u muzejima su u razmjerno dobrom stanju. Za njihovo održavanje i zaštitu brinu se konzervatori i arheolozi.

41

Aquileia, Museo Archeologico Nazionale. Wall-mosaic fragments from a nymphaeum. (Photo: Elena Braidotti)

Akvileja, Nacionalni arheološki muzej. Fragmenti zidnog mozaika iz nimfeja. (foto: Elena Braidotti)

Mozaici su jedna od karakteristika arheološke i kul-turne baštine rimskih nalazišta u Akvileji. Prezenti-rani su na arheološkim nalazištima na otvorenome, u Nacionalnom arheološkom muzeju, u Muzeju ra-nog kršćanstva i u kršćanskoj bazilici.

Od početka 20. stoljeća do danas primjenjivale su se različite tehnike postavljanja mozaika koje svjedoče o znatnom metodološkom napretku u javnom izla-ganju te problematične vrste artefakata. Zapravo je potreba za izlaganjem odredila rane eksperimente s tehnikama odvajanja mozaika od originalnih podloga i njihovo premještanje na nove podloge koje su omo-gućile njihovo prezentiranje na otvorenim arheološ-kim nalazištima, ali i u muzejima. No potreba za no-vim rješenjima u izlaganju potaknula je promjenu u metodologiji, pa se razmatraju nova okruženja, pri-kladna ne samo za vizualno isticanje mozaika nego i za rješavanje konzervatorskih problema. Nedavno pronađeni podovi s mozaicima na nekoliko nalazišta u Akvileji postavljeni su unutar zaštitnih struktura kako bi mogli ostati na mjestu pronalaska. U nekoli-ko slučajeva nova rješenja izvedena su uklanjanjem cementnih podloga i prijenosom mozaika na priklad-nije podloge.

Cilj je ovog predavanja predstaviti nedavne radove u Akvileji i prikazati, prvi put, planirane intervencije u kontekstu novog postava Nacionalnog arheološkog muzeja, koji će u izložbenim prostorijama, na nov način, prezentirati neke od najpoznatijih mozaika iz Akvileje.

Aquileia Mosaics / Mozaici iz Akvileje

Mosaics are one of the specific characteristics of the archaeologi-cal and cultural heritage of the Roman sites of Aquileia: they are visible in the archaeological outdoor areas, in the National Ar-chaeological Museum, in the Museum of the Early Christian Age, and in the Christian Basilica.

The different methods of setting used over time, such as those now current, show a significant synthesis of the methodological devel-opments – since the first decades of the 20th century– of the exhib-iting of this problematic class of artefacts to the public. The need to exhibit, in fact, determined the early experimentations of de-tachment techniques from the original substrates and relocation on new supports that could make it possible to show them both in the archaeological outdoors and within the museum. Howev-er, the need for new exhibition solutions has recently revised the methods used in the past, to the point of considering new settings that should be appropriate not only for visual appreciation but also for conservational problems of mosaics. The last mosaic floors re-cently found in several areas of Aquileia have been placed inside protective structures, just to make it possible to keep them in situ. On several occasions, new exhibition solutions have been realized by removing cement-made substrates and using new settings on more suitable supports.

This lecture aims to illustrate recent works executed in Aquileia and to show, for the first time, the interventions planned in the context of the new setting of the National Archaeological Muse-um, which will allow some of the most famous mosaics of Aquileia to play a new role within the exhibition halls.

Marta Novello, PhD, director of the National Archaeological Museum of Aquileia, marta.novello@beniculturali.itdr. sc. Marta Novello, ravnateljica Nacionalnog arheološkog muzeja u Akvileji, marta.novello@beniculturali.it

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

43

Stara Zagora (Augusta Traiana). Detail of ‘The Dionysian Procession’ mosaic after conservation.

(Photo: Methodi Zlatkov)

Stara Zagora (Augusta Traiana). Detalj mozaika “Dionizijska povorka” nakon konzervatorsko-

restauratorskih radova. (foto: Methodi Zlatkov)

Regionalni povijesni muzej u bugarskoj Staroj Zagori čuva bogatu zbirku antičkih podnih mozaika, koji su bili dio antičkog grada Augusta Traiana.

U ovom će se izlaganju obraditi šest mozaika s ra-zličitih arheoloških nalazišta u gradu, prenesenih na nove prijenosne podloge. Za konzerviranje i restau-riranje su upotrijebljeni različiti materijali i tehnike, no rezultati nisu uvijek bili zadovoljavajući. Problemi konzerviranja i restauriranja raznovrsni su i ozbiljni. Dio mozaika je u iznimno lošem stanju pa je potrebna složenija stručna intervencija kako bi ih se spasilo. U nekim slučajevima dokumentacija ne postoji ili je ne-potpuna, no najveći su problem ireverzibilni ili teš-ko reverzibilni prijašnji konzervatorsko i restaura-torski zahvati na tim mozaicima. Zanimljivo je da je najstariji mozaik, restauriran 1913. godine, u mnogo boljem stanju od mozaika restauriranih prije deset ili petnaest godina. S druge strane, postoje i primje-ri pozitivne prakse, u kojima su svi postupci dobro dokumentirani, a mozaici su restaurirani primjenom suvremenih tehnika i materijala, što omogućuje la-gano odvajanje recentne podloge od originalne i lak-še ponovno restauriranje.

Problems and challenges in conserving of the mosaic heritage of Augusta Traiana (Stara Zagora) / Problemi i izazovi zaštite mozaičke baštine iz Stare Zagore (Augusta Traiana)

The Regional Museum of History in Stara Zagora has a rich col-lection of Antique floor mosaics. The mosaics are part of the an-cient city of Augusta Traiana.

This report discusses six mosaics found at various archaeological sites in the city and transferred to new movable supports. Var-ious materials and techniques have been used for conservation. The results vary: some are good, others are not. The conserva-tion problems are very varied and serious. Some mosaics are in a very critical condition and need serious intervention in order to be rescued. In some cases, documentation is missing; in others, it is not complete. The biggest problem with these mosaics is the use of conservation interventions that do not allow, or seriously hin-der, re-restoration. It is interesting that the oldest mosaic, restored in 1913, is in much better condition than mosaics restored in the last 10-15 years. On the other hand, there are positive examples of mosaics that were well documented and restored with modern methods and materials, allowing easy separation of the new foun-dations from the original, and easy re-restoration if necessary.

Reneta Karamanova-Zlatkova, conservator-restorer, National Archaeological Institute with Museum, Bulgarian Academy of Sciences, reneta_karamanova@yahoo.comReneta Karamanova-Zlatkova, konzervator-restaurator, Nacionalni arheološki institut i muzej, Bugarska akademija znanosti, reneta_karamanova@yahoo.com

PAST

AND

PRE

SENT

SOL

UTIO

NS F

OR D

ETAC

HED

MOS

AICS

/ DE

MON

TIRA

NI M

OZAI

CI U

PRO

ŠLOS

TI I

SADA

ŠNJO

STI

45

Stefania Chlouveraki, PhD, Athens University of Applied Sciences, schlouve@teiath.gr; Nikolaos Lymperopoulos, Athens University of Applied Sciences; Andreas Gkizis, Athens University of Applied Sciences; Eleftherios Charalambous, PhD, Department of Antiquities of Cyprusdr. sc. Stefania Chlouveraki, Sveučilište primijenjenih znanosti u Ateni, schlouve@teiath.gr; Nikolaos Lymperopoulos, Sveučilište primijenjenih znanosti u Ateni; Andreas Gkizis, Sveučilište primijenjenih znanosti u Ateni; dr. sc. Eleftherios Charalambous, Odjel za starine Cipar

Issues in the preservation of the original mortar in detached mosaics: past experiences and future research / Problemi očuvanja izvorne žbuke na podignutim mozaicima: prijašnja iskustva i buduća istraživanja

Assembling mosaic sections supported on portable cast mounts. (Photo: Stefania Chlouveraki)

Spajanje dijelova mozaika na prijenosnoj izlivenoj podlozi (foto: Stefania Chlouveraki)

Podizanje mozaika najagresivnija je i najdestruktiv-nija metoda koja se u prošlosti primjenjivala u kon-zerviranju i restauriranju mozaika. Glavni je razlog uništavanje arheološkog konteksta i montaža mo-zaika na neprimjerene podloge. Uklanjanje izvorne žbuke s mozaika nakon njihova podizanja i njezina zamjena novim materijalima uzrokuje daljnji gubitak integriteta teselata (tesselatum) pa često narušava estetsku vrijednost i autentičnost antičkih mozaika. U literaturi je zabilježeno samo nekoliko slučajeva pokušaja očuvanja većeg dijela izvorne žbuke pri podizanju mozaika.

Ovo izlaganje fokusira se na podloge koje su se do-sad upotrebljavale za očuvanje dijela izvorne žbu-ke poleđine mozaika. Osim toga, u izlaganju će se raspravljati o postojećim i budućim istraživanjima razvoja podloga koje će, kad to bude moguće, biti primjerene za očuvanje originalnih slojeva žbuke. Prema odabranim primjerima podnih i zidnih mozai-ka raspravljat će se o materijalnim aspektima, ali i o etičkim i filozofskim pitanjima.

The detachment of mosaics is known to be the most aggressive and destructive method that has been extensively used in the past in the conservation of mosaics, the main reasons being the de-struction of the archaeological context and the application of in-appropriate backing supports. The removal of the original mortar of the mosaics after their detachment, and its replacement with new backing materials, further results in a loss of the integrity of the tesselatum and often compromises the aesthetic value and au-thenticity of ancient mosaics. Only a few cases are reported in the bibliography, where effort has been made to preserve a substantial part of the original bedding mortar of detached mosaics.

This presentation focuses on backing systems that have been used so far for the preservation of a portion of the original mortar at the back of the mosaic, and it discusses the potential of current and future research towards the development of backing systems which allow the preservation of the original mortar layers where possible. Material aspects, as well as ethical and philosophical is-sues, will be discussed with reference to case studies of both floor and wall mosaics.

CONS

ERVA

TION

-RES

TORA

TION

TEC

HNIQ

UES

FOR

MOS

AICS

/ TE

HNIK

E KO

NZER

VATO

RSKO

-RES

TAUR

ATOR

SKIH

ZAH

VATA

NA

MOZ

AICI

MA

47

Mediana. Christogram after conservation. (Photo: Nemanja Smičiklas)

Medijana. Kristogram nakon završetka konzervatorsko-restauratorskih radova.

(foto: Nemanja Smičiklas)

Mozaik s Kristovim monogramom otkriven je u ar-heološkoj kampanji 2007. godine na arheološkom nalazištu Medijana kod Niša. Poslije rušenja rezi-dencijalnog kompleksa na Medijani, na njegovim se ostacima formira posve novi tip naselja; između ostalog, sagrađene su dvije crkve koje čine sakralni kompleks koji se datira na kraj 4. ili početak 5. sto-ljeća. Južna crkva je jednobrodna građevina; sastoji se od većeg, izduženog narteksa i naosa. Na istoč-noj strani je prostrana apsida, dubine 2 m. U žbuka-nom podu u naosu na mjestu ambona nalazi se kri-stogram izveden od sekundarno korištenih tesera.

Ovo predavanje predstavlja konzervatorsko-restau-ratorske radove na dislociranom mozaiku s Kristo-vim monogramom i tijek rješavanja problema veza-nih uz njegovu prezentaciju, kao i za izradu kopije korištenjem modernih materijala za prezentaciju in situ.

Conservation of a mosaic with a Christ monogram from Mediana / Konzerviranje i restauriranje mozaika s Kristovim monogramom iz Medijane

A mosaic with a Christ monogram was found during the archae-ological campaign in 2007 at the archaeological site of Mediana. After the demolition of the residential complex in Mediana, a com-pletely new type of settlement was formed on its remains; among other buildings, two churches were built, representing a sacred complex dated to the end of the 4th century or the beginning of the 5th. The south church is a single nave building; it consists of a large, elongated narthex and a naos. On the east side there is a spacious apse, 2 m long. In the mortar floor of the nave, in the place of the ambo, a Christ monogram was made in mosaic tech-nique out of secondary-used tesserae.

This lecture will present conservation work on the detached mo-saic with the Christ monogram and the process of problems and solutions relating to its presentation, as well as the making of a copy with the usage of modern materials for in situ presentation.

Marijana Protić, painter-restorer, consultant, Institute for the Protection of the Cultural Heritage of Serbia, malinana@live.com; Nemanja Smičiklas, painter-restorer, consultant, Institute for the Protection of the Cultural Heritage of Serbia, dontpanicdesign@gmail.com Marijana Protić, slikar restaurator, savjetnik, Republički zavod za zaštitu spomenika kulture Srbije, malinana@live.com; Nemanja Smičiklas, slikar restaurator, savjetnik, Republički zavod za zaštitu spomenika kulture Srbije, dontpanicdesign@gmail.com

CONS

ERVA

TION

-RES

TORA

TION

TEC

HNIQ

UES

FOR

MOS

AICS

/ TE

HNIK

E KO

NZER

VATO

RSKO

-RES

TAUR

ATOR

SKIH

ZAH

VATA

NA

MOZ

AICI

MA

49Trilj, Gardun. Partially preserved mosaic floor with the depiction of the bull as a central motif before detachment from its original substrate.

(Photo: Branko Matulić, Tonči Borovac)

Trilj, Gardun. Djelomično očuvani dio središnje mozaične podnice s prikazom bika prije

odvajanja od izvorne podloge. (foto: Branko Matulić, Tonči Borovac)

U Republici Hrvatskoj sve je više mozaičnih podnica ili njihovih sačuvanih dijelova podignutih s izvornih položaja, koji se u sklopu konzervatorsko-restaura-torskih zahvata često postavljaju na prenosive pod-loge. Među njima se nalaze i ostaci podnoga mozai-ka iz jedne od središnjih zgrada (mogući praetorium) arheološkoga nalazišta Gardun, poznatoga po nala-zištu rimskog vojnog logora Tilurija. Ostaci mozai-ka, čijih je pet ulomaka otkriveno tijekom istraživanja između 1997. i 2001. godine, prilikom konzervator-sko-restauratorskih zahvata odvojeni su od izvorne podloge, te 2006. postavljeni na nove, prenosive pod-loge od saćastih aluminijskih panela. Nakon završet-ka radova, najreprezentativniji ulomak mozaika, s dje-lomično očuvanim prikazom bika, izložen je kao dio stalnog postava Muzeja triljskoga kraja, dok su pre-ostali ulomci pohranjeni u depo (čekaju se neke sret-nije okolnosti kojima bi se omogućilo njihovo izlaga-nje). Središnji dio embleme s prikazom bika izložen je izvan izvornog konteksta i funkcije, a vrijednost mu je umanjena upravo zbog načina i mjesta prezentacije.

U radu će biti opisane okolnosti i kontekst postavlja-nja ulomaka mozaika iz Garduna na prenosive podlo-ge te njihova trenutačna prezentacija. Problematizirat će se način prezentacije, mogućnost vraćanja konzer-viranih mozaičkih ulomaka in situ (na nalazište) te prijedlog samoodrživosti intermodalnom primjenom multimedije i samih ulomaka. Komparacijom s neko-liko postojećih pozitivnih ili negativnih primjera iz Hr-vatske i inozemstva pokušat će se odrediti smjernice za adekvatnu buduću prezentaciju i pohranu ulomaka mozaika iz Garduna. Cilj rada je na temelju izloženih primjera upozoriti na probleme koji prate gotovo sve mozaike odvojene od izvorne podloge.

Fragments of floor mosaics on portable substrates from the archaeological site of Gardun, near Trilj: problems, presentation, context / Ulomci podnog mozaika na prenosivim podlogama s arheološkoga nalazišta Gardun pokraj Trilja; problematika, prezentacija, kontekst

In the Republic of Croatia there is an increasing number of mo-saic floors, or preserved parts of them, detached from their origi-nal substrates, often placed on portable substrates during conser-vation work. Among them are the remnants of the floor mosaics from one of the central buildings (possible praetorium) of the ar-chaeological site of Gardun, known for the Roman military camp of Tilurium. The remains of the mosaics, five of which were discov-ered during the excavation period between 1997 and 2001, were detached from the original substrate, and in 2006 were placed on new, portable substrates made of aluminium-honeycomb sand-wich panels. At the end of the work, the most representative mo-saic fragment, with partially preserved bull-motif decoration, was exhibited as part of the permanent exhibition of the Museum of the Trilj Region, while the remaining fragments were stored in the depot (waiting for more auspicious conditions enabling their presentation). The central part of the bull emblem is, as such, ex-hibited outside its original context and function, and its value is diminished because of the presentation methods.

The paper will describe the circumstances and context of laying fragments from Gardun on portable substrates, and their current presentation. The mode of presentation will be problematized, as will the possibility of returning conserved mosaic fragments to the site, and the proposal of self-sustainability through the intermodal application of multimedia and the fragments themselves. By com-paring some of the existing positive or negative examples from Croatia and abroad, we will try to determine guidelines for the suitable future presentation and storage of the fragments from Gar-dun. The aim of this paper is to focus on the issues faced by the ma-jority of mosaics detached from their original substrates.

Nikola Radošević, conservator-restorer, Arts Academy, University of Split, radniko@gmail.com; Branko Matulić, PhD, consultant conservator-restorer, University of Split, branko.matulic@unist.hr; Krešimir Bosnić, conservator-restorer, Arts Academy, University of Split, kbosnic1@gmail.comNikola Radošević, konzervator-restaurator, Umjetnička akademija Sveučilišta u Splitu radniko@gmail.com; dr. sc. Branko Matulić, konzervator-restaurator savjetnik, Sveučilište u Splitu, branko.matulic@unist.hr; Krešimir Bosnić, konzervator-restaurator, Umjetnička akademija Sveučilišta u Splitu, kbosnic1@gmail.com

CONS

ERVA

TION

-RES

TORA

TION

TEC

HNIQ

UES

FOR

MOS

AICS

/ TE

HNIK

E KO

NZER

VATO

RSKO

-RES

TAUR

ATOR

SKIH

ZAH

VATA

NA

MOZ

AICI

MA

Museum of the Trilj Region. Aerolam panel with the fragment of the mosaic from Gardun with the depiction of the bull.

(Photo: Nikola Radošević)

Muzej Triljske krajine. Ulomak mozaične podnice s prikazom bika na prenosivoj

podlozi. (foto: Nikola Radošević)

51

Mosaic from the archaeological site of Guberevac (collection of the National Museum in Belgrade) at

the exhibition Constantine the Great. (Photo: Dušan Maksimović)

Mozaik s nalazišta Guberevac (zbirka Narodnog muzeja u Beogradu) na izložbi “Konstantin Veliki”.

(foto: Dušan Maksimović)

Podizanjem i dislokacijom mozaik se počinje prou-čavati kao pokretni muzejski predmet. Cilj njegovog konzerviranja i restauriranja najčešće je prezentaci-ja u muzejskim uvjetima. Da bi se omogućila planira-na upotreba mozaika, nova podloga mora omogućiti strukturnu stabilnost i rukovanje a da se istovreme-no očuva autentičnost originalnog materijala.

Mozaički paneli trebaju biti kreirani tako da udovolje tim zahtjevima i da u muzejskim uvjetima omoguće prezentaciju konteksta iz kojega je mozaik premje-šten. U tu se svrhu mogu primijeniti različita tehnič-ka riješenja.

Specifični pristupi u kreiranju mozaičkih podloga razmatrani su na nekoliko primjera mozaika koji su konzervirali i restaurirali djelatnici Centralnog insti-tuta za konzervaciju. Mozaik s nalazišta Guberevac iz Narodnog muzeja u Beogradu restauriran je na aluminijskim saćastim panelima s međuslojem od sintetičke reverzibilne žbuke, u namjeri da se omo-gući izlaganje velikih površina četiriju mozaičkih te-piha koji potječu iz iste građevine. Svrha je bila da se kreiraju mozaički paneli odgovarajućih veličina, kako bi se omogućilo rukovanje u muzejskom okru-ženju. Mozaik iz rimske urbane vile (villa urbana), koji pripada JU Muzeji i galerije Budve u Crnoj Gori, ta-kođer je restauriran na aluminijskim saćastim pane-lima, ali s međuslojem od hidrauličke vapnene žbu-ke. Saćasti paneli morali su biti precizno rezani i uklopljeni, kako spojevi između mozaičkih panela ne bi bili primjetni, jer je dekoracija mozaika figuralna, a spojevi između fragmenata nisu pravilni.

Još traje konzerviranje i restauriranje mozaika s ar-heološkog nalazišta “Zadružni dom” u Skelanima,

Mosaics in museums – approaches to designing movable supports for detached mosaics / Mozaici u muzejima – pristupi kreiranju pokretnih podloga za dislocirane mozaike

When a mosaic is lifted and dislocated, it starts to be considered as a movable object. The goal of its conservation is usually to enable presentation in museum conditions. To allow the planned use of a mosaic, a new support should provide structural stability and enable handling, while preserving the authenticity of the original material.

Mosaic panels should be designed to satisfy these requirements, as well as to make possible the presentation of mosaic context within museum exhibition. For this, different technical solutions can be employed.

Particular approaches for mosaic-support design and definition of mosaic panels are investigated through several examples of mosa-ics conserved by the Central Institute for Conservation. A mosaic from the site of Guberevac, now at the National Museum in Bel-grade, was restored on honeycomb panels with reversible synthetic mortar backing with the goal of presenting large surfaces of four different mosaic carpets from the same building. The objective was to design mosaic panels of particular sizes in order to enable handling in the museum environment. A mosaic from the Roman villa urbana that belongs to the public Institute of Museums and Galleries of Budva, Montenegro, was also restored on honeycomb panels, but with hydraulic lime backing mortar. The honeycomb panels had to be perfectly cut and closely fitted to enable joining of the mosaic panels without making the joints between them obvi-ous, since the mosaic decoration was figural and the cuts between the fragments were not straight.

A mosaic of the Roman Municipium Archaeological Museum, from the archaeological site of Zadružni dom, Skelani, is in the process of conservation. The mosaic fragments have their original backing

Maja Franković, MA, senior conservator, Central Institute for Conservation, maja.frankovic@cik.org.rs; Dunja Davidović Gnjatović, senior conservation technician, Central Institute for Conservation, dunja.davidovic@cik.org.rs; Dušan Maksimović, conservation technician, Central Institute for Conservation, dusan.maksimovic@cik.org.rs mr. Maja Franković, viši konzervator, Centralni institut za konzervaciju, maja.frankovic@cik.org.rs; Dunja Davidović Gnjatović, viši konzervator-tehničar, Centralni institut za konzervaciju, dunja.davidovic@cik.org.rs; Dušan Maksimović, konzervator-tehničar, Centralni institut za konzervaciju, dusan.maksimovic@cik.org.rs

CONS

ERVA

TION

-RES

TORA

TION

TEC

HNIQ

UES

FOR

MOS

AICS

/ TE

HNIK

E KO

NZER

VATO

RSKO

-RES

TAUR

ATOR

SKIH

ZAH

VATA

NA

MOZ

AICI

MA

koji pripada Arheološkom muzeju Rimski Municipi-um. Fragmenti mozaika su na originalnoj podlozi od žbuke, a cilj konzerviranja i restauriranja je obliko-vanje mozaičkih panela pogodnih za rukovanje i vra-ćanje na nalazište bez uklanjanja originalne žbuke.

mortar, and the goal of the conservation is to make mosaic panels suitable for handling and returning to the site without removing the original mortar.

53

Mosaic carpet with hexagonal fields from the archaeological site of Guberevac (collection of the National Museum in

Belgrade) before restoration. (Photo: Dušan Maksimović)

Mozaički tepih s heksagonalnim poljima s arheološkog nalazišta Guberevac (zbirka Narodnog muzeja u Beogradu)

prije restauracije. (foto: Dušan Maksimović)

Mosaic carpet with hexagonal fields from the archaeological site of Guberevac (collection of the National Museum in

Belgrade) after restoration. (Photo: Veljko Džikić)

Mozaički tepih s heksagonalnim poljima s arheološkog nalazišta Guberevac (zbirka Narodnog muzeja u Beogradu)

poslije restauracije. (foto: Veljko Džikić)

Posterom će biti predstavljena studija slučaja moza-ika iz zbirke Narodnog muzeja u Beogradu. Mozaik je podignut 1958. godine iz kasnoantičke građevine u sklopu civilnog naselja rimskog kastruma u Stoj-niku (Kosmajsko rudarsko područje). Mozaik sadrži natpise – imena i titule priložnika, koji su smješteni u heksagonalna i oktagonalna polja i pravokutno sre-dišnje polje. Datiran je u sredinu 4. stoljeća. Stupanj očuvanosti mozaika i rekonstrukcija izvedena 1959. godine, utjecali su na primijenjeno rješenje za reinte-graciju lakuna u tretmanu ponovnog konzerviranja i restauriranja.

Posterom je predstavljen tretman lakuna vapnenim žbukama u boji koje ističu geometrijsku dekoraciju mozaika. Tim izabranim pristupom omogućeno je razumijevanje geometrijskog crteža mozaika.

Museum presentation of detached mosaics – treatment of lacunae / Prezentacija dislociranih mozaika u muzejima – tretman lakuna

The poster will present a case study of a mosaic in the collection of the National Museum in Belgrade. The mosaic was lifted in 1958 from a late Roman building on the site of the civil settlement of the castrum at Stojnik (the mining district of Kosmaj). The mosaic bears inscriptions of donors‘ names and titles, placed in hexago-nal and octagonal fields, as well as a central rectangular one. It is dated to the mid-4th century AD. The level of preservation of the mosaic, as well as the reconstruction carried out in 1959, influ-enced the solution employed in the reintegration of lacunae that was applied in the re-conservation treatment.

The poster presents the treatment of lacunae with coloured lime mortars that emphasize the geometric decoration patterns of the mosaic. This approach was chosen in order to allow comprehen-sion of the mosaic‘s decorative scheme.

Dunja Davidović Gnjatović, senior conservation technician, Central Institute for Conservation, dunja.davidovic@cik.org.rs; Maja Franković, MA, senior conservator, Central Institute for Conservation, maja.frankovic@cik.org.rs; Dušan Maksimović, conservation technician, Central Institute for Conservation, dusan.maksimovic@cik.org.rs Dunja Davidović Gnjatović, viši konzervator-tehničar, Centralni institut za konzervaciju, dunja.davidovic@cik.org.rs; mr. Maja Franković, viši konzervator, Centralni institut za konzervaciju, maja.frankovic@cik.org.rs; Dušan Maksimović, konzervator-tehničar, Centralni institut za konzervaciju, dusan.maksimovic@cik.org.rs

POST

ERS

/ POS

TERI

55

City Museum of Belgrade. Mosaic fragments from Singidunum. (Photo: Milena Jovanović)

Muzej grada Beograda. Fragmenti mozaika iz Singiduna (Singidunum). (foto: Milena Jovanović)

U arheološkim iskopavanjima koja su trajala od 1976. do 1978. godine u središtu Beograda, u ulici Kosančićev venac, otkriveni su fragmenti podnog rimskog mozaika. Datirani su u 1. stoljeće. Ukupno 122 mozaička fragmenta jedini su ostaci mozaika pronađenoga u Singidunu (Singidunum). Osamdeset sedam fragmenata izrađeno je u terazzo tehnici, a 35 u tehnici opus tessellatum. Kamen korišten za izradu tesera je crne, bijele i crvene boje. Mozaik je pokuša-la rekonstruirati Gordana Cvetković Tomašević koja je objavila nalaze 1980. godine. Fragmenti su nakon iskopavanja uskladišteni u Muzeju grada Beograda, ali do danas nisu restaurirani.

Plakatom se predstavlja prijedlog za rekonstrukciju povezivanja fragmenata na većim panelima i prijed-log njihove prezentacije u muzeju.

Conservation of mosaic fragments from the City Museum of Belgrade / Konzerviranje fragmenata mozaika iz Muzeja grada Beograda

Mosaic fragments belonging to a Roman building dated to the 1st century were discovered during archaeological excavations con-ducted in 1976-1978 in the Belgrade city-centre street Kosančićev venac. The mosaic fragments, 122 in total, are the only remains of mosaic art found in Singidunum. Eighty-seven fragments are in ter-azzo technique, and 35 are opus tessellatum in black, white and red tesserae. An attempt to reconstruct the mosaic was made by Gor-dana Cvetković Tomašević, who published the findings in 1980. The fragments were stored in the City Museum of Belgrade, but to this daythey have not been restored.

The poster will present an effort to revise the proposed reconstruc-tion, connecting the fragments to larger panels, and the proposal for their presentation in the museum.

Milena Jovanović, conservator, Central Institute for Conservation, milena.jovanovic@cik.org.rs; Dunja Davidović Gnjatović, senior conservation technician, Central Institute for Conservation, dunja.davidovic@cik.org.rs; Maja Franković, MA, senior conservator, Central Institute for Conservation, maja.frankovic@cik.org.rsMilena Jovanović, konzervator, Centralni institut za konzervaciju, milena.jovanovic@cik.org.rs; Dunja Davidović Gnjatović, viši tehničar-konzervator, Centralni institut za konzervaciju, dunja.davidovic@cik.org.rs; mr. Maja Franković, viši konzervator, Centralni institut za konzervaciju, maja.frankovic@cik.org.rs

POST

ERS

/ POS

TERI

57

Museums and Galleries of Budva. Central part of the mosaic after conservation. (Photo: Dušan Maksimović)

JU Muzeji i galerije Budve. Središnji dio mozaika nakon završetka konzervatorsko-restauratorskih radova. (foto: Dušan Maksimović)

Poster će predstaviti međunarodni projekt konzer-viranja i restauriranja antičkog mozaika iz zbirke Javne ustanove Muzeji i galerije Budve, koji je trajao od ožujka do kolovoza 2014. godine.

Mozaik je otkriven potkraj tridesetih godina 20. sto-ljeća, tijekom gradnje starog hotela Avala. Pripadao je rimskoj urbanoj vili (villa urbana) koja se datira u drugo stoljeće. Prvi radovi na konzerviranju i re-stauriranju toga mozaika izvedeni su 1986. godine. Tada je mozaik u fragmentima podignut s nalazišta, postavljen na drvene panel-ploče i uskladišten. Dva-deset osam godina nakon njegova podizanja i pre-mještanja, prvi put nakon otkrivanja, konzervator-sko-restauratorski radovi izvedeni su na oko 40 m2 mozaika na podlozi od hidraulične vapnene žbuke, sintetičke epoksidne žbuke i aluminijskih saćastih panela.

Projekt su zajednički ostvarili Centar za konzervaci-ju i arheologiju Crne Gore - Cetinje, Centralni institut za konzervaciju u Beogradu, Srbija, Republički za-vod za zaštitu spomenika kulture - Beograd, Srbi-ja i Javna ustanova Muzeji i galerije Budve - Budva, Crna Gora.

Conservation of Roman mosaics from villa urbana, Budva – International project / Konzerviranje i restauriranje rimskog mozaika iz urbane vile (villa urbana) u Budvi – projekt međunarodne suradnje

The poster will present an international project: conservation of an Antique mosaic from the collection of the Public Institute of Museums and Galleries of Budva, Montenegro, carried out from March to August 2014.

The mosaic was discovered at the end of the 1930s, during con-struction work on the Avala hotel. It belongs to the Roman villa urbana, which is believed to date back to the 2nd century AD. The first conservation work on the mosaic was done in 1986. At the time, fragments of the mosaic were displaced from the site, placed on wooden panels and stored. Twenty-eight years after its lifting and displacement, for the first time since its discovery, approxi-mately 40 m2 of the mosaic were conserved on movable supports made of hydraulic lime mortar, synthetic epoxy mortar and alu-minium honeycomb panels.

The project was a joint effort by the Centre for Conservation and Archaeology of Montenegro (Cetinje, Montenegro), the Central Institute for Conservation in Belgrade (Belgrade, Serbia), the Re-public Institute for the Protection of Cultural Monuments (Bel-grade, Serbia) and the Public Institute of Museums and Galleries of Budva (Budva, Montenegro).

Dušan Maksimović, conservation technician, Central Institute for Conservation, dusan.maksimovic@cik.org.rs; Maja Franković, MA, senior conservator, Central Institute for Conservation, maja.frankovic@cik.org.rs; Dunja Davidović Gnjatović, senior conservation technician, Central Institute for Conservation, dunja.davidovic@cik.org.rs Dušan Maksimović, konzervator-tehničar, Centralni institut za konzervaciju, dusan.maksimovic@cik.org.rs; mr. Maja Franković, viši konzervator, Centralni institut za konzervaciju, maja.frankovic@cik.org.rs; Dunja Davidović Gnjatović, viši konzervator-tehničar, Centralni institut za konzervaciju, dunja.davidovic@cik.org.rs

POST

ERS

/ POS

TERI

59

Obrenovac, elementary school. Main mosaic after conservation. (Photo: Nemanja Smičiklas)

Obrenovac, osnovna škola. Glavni mozaik nakon završetka radova. (foto: Nemanja Smičiklas)

Ovaj poster predstavlja konzervatorsko-restaura-torske radove na 18 m2 keramičkog mozaika izlože-nog na zidovima osnovne škole u Obrenovcu kod Be-ograda, kao i problem i rješenja koja se odnose na njegovu prezentaciju, s obzirom na to da je riječ o modernom umjetničkom djelu.

Mozaik je bio devastiran u poplavama koje su zade-sile Srbiju u svibnju 2014. godine i potpuno uništile Obrenovac. Konzerviranje i restauriranje mozaika dio je humanitarnog programa Republičkoga za-voda za zaštitu spomenika kulture. Autor keramič-kog mozaika je akademski umjetnik Ljubiša Petro-vić. Mozaik je simbol škole i još od 1979. godine (kad je postavljen na zid) daje toplinu ambijentu glavnog predvorja. Ispred mozaika fotografirale su se za svojega školovanja sve generacije učenika.

Conservation of modern ceramic mosaics from an elementary school in Obrenovac / Konzerviranje i restauriranje suvremenog keramičkog mozaika iz osnovne škole u Obrenovcu

This poster shows the conservation process of the 18 m² of a ce-ramic mosaic exhibited on the walls of an elementary school in Obrenovac, near Belgrade, as well as problems and solutions relat-ing to its presentation, since it is a modern work of art.

The mosaic was devastated in floods that shook Serbia in 2014 and completely destroyed Obrenovac. This job was part of the human-itarian work that the Institute for the Protection of the Cultural Heritage of Serbia did after the flood. The creator of this work of art is the well-known artist Ljubiša Petrović. This mosaic is a sym-bol of this school, and since 1979 (the year it went up on the school walls) it has given warmth to the entrance hall. Every generation of pupils, on all important occasions in the course of their educa-tion, has been photographed in front of this mosaic.

Marijana Protić, painter-restorer, consultant, Institute for the Protection of the Cultural Heritage of Serbia, malinana@live.com; Nemanja Smičiklas, painter-restorer, consultant, Institute for the Protection of the Cultural Heritage of Serbia, dontpanicdesign@gmail.comMarijana Protić, slikar restaurator, savjetnik, Republički zavod za zaštitu spomenika kulture Srbije, malinana@live.com; Nemanja Smičiklas, slikar restaurator, savjetnik, Republički zavod za zaštitu spomenika kulture Srbije, dontpanicdesign@gmail.com

POST

ERS

/ POS

TERI

61

Izola, St. Simon’s Bay. The shelter over Area 2 with three returned mosaics. (Photo: Nataša Škrjanec)

Izola, Simonov zaljev. Zaštita iznad Područja 2 s tri ponovno postavljena mozaika. (foto: Nataša Škrjanec)

Poster donosi raspravu o različitim konačnim rješe-njima na dva područja arheološkog parka s većim brojem mozaika.

Djelatnici Restauratorskog centra Zavoda za zaštitu kulturne baštine Slovenije 2015. i 2016. godine izveli su opsežne konzervatorsko-restauratorske radove na mozaicima i zidovima rimskog ljetnikovca u Si-monovu zaljevu u Izoli. Radovi su izvedeni u sklopu projekta „AS - arheologija za sve. Oživljavanje Arhe-ološkog parka Simonov zaljev“.

Prije početka projekta predviđeno je pet mogućih konzervatorsko-restauratorskih intervencija na mo-zaicima. Izabrana je najprimjerenija metoda za svaki objekt, s obzirom na nejednaki geološki sastav dva-ju područja, nadmorsku visinu mozaika i negativne vanjske čimbenike, zbog kojih je bilo potrebno odr-žavanje koje je uključivalo postavljanje odvodnog sustava i primjeren zaklon.

Mozaici na Području 1 bili su konzervirani i restauri-rani te djelomično obnovljeni in situ jer vapnena pod-loga ne zadržava vodu, dovoljno je čvrsta i otporna na negativne vanjske čimbenike.

Ostaci ljetnikovca na Području 2 nalaze se na flišnom tlu. Zbog slijeganja tla i porasta razine mora od rim-skih vremena do danas, razina mozaika je vrlo niska. Zato na njega plima jače utječe, a nepropusni slojevi gline uzrokuju zadržavanje oborinskih i površinskih voda zbog čega pripremni slojevi žbuke mozaika sla-be. Odlučeno je da se mozaici podignu, poravnaju, konzerviraju, restauriraju i vrate na izvornu lokaci-ju na novoj podlozi u razini izvorne visine mozaika, s ugrađenim drenažnim sustavom. Nova je podloga izrađena po uzoru na izvorne antičke podloge. Za

Proper selection of methodology works on two different areas of the archaeological park of St. Simon’s Bay (Simonov Zaliv) / Odabir odgovarajuće metodologije rada na dva područja arheološkog parka Simonov zaljev (Simonov zaliv)

The content of the poster discusses the various final solutions in two areas of the archaeological park, with a large number of mosaics.

In 2015-2016 the Restoration Centre of the Institute for the Pro-tection of the Cultural Heritage of Slovenia carried out extensive conservation work on the mosaics and wall structures of the Roman seaside villa at St. Simon’s Bay, in Izola. The work was completed within the project AS – Archaeology for all. Revival of the Archaeological Park of St. Simon’s Bay.

Before the project started, we anticipated 5 different possibilities for conservation intervention on the mosaics. We chose the most ap-propriate method for a particular object depending on the unequal geological settings of the two areas, the height of the mosaics above sea level, and negative external factors, due to which maintenance was provided, comprising the functioning of a drainage system and appropriate shelter.

The mosaics in Area 1 were consolidated and partially restored in situ, since the sub-ground there consists of limestone, being perme-able and strong enough to resist negative external factors.

The remains of the seaside villa in Area 2 are located on flysch ground. Due to soil subsidence and sea-level rise since Roman times, the mosaic level has nowadays reached a very low, critical altitude. The influence of the tides is therefore stronger, while the impermeable clay layers in the sub-ground lead to retention of rain and groundwater, causing deterioration of the preparatory mortar layers of the mosaics. Hence, in this area the mosaics were lifted, straightened, conserved and returned to their original location and primary level, on newly constructed preparatory layers combined with a drainage system. The new base was executed following the

Martina Lesar Kikelj, MA, conservator-restorer, Restoration Centre, Institute for the Protection of the Cultural Heritage of Slovenia, martina.kikelj@rescen.si; Nataša Škrjanec, independent restorer, natasa.skrjanec@gmail.commr. art. Martina Lesar Kikelj, konzervator-restaurator, Restauratorski centar, Zavod za zaštitu kulturne baštine Slovenije, martina.kikelj@rescen.si; Nataša Škrjanec, samostalni konzervator-restaurator, natasa.skrjanec@gmail.com

POST

ERS

/ POS

TERI

potrebe prezentacije mozaika ispitana su mehanič-ka i fizička svojstva žbuke na NHL osnovi s različitim mineralnim dodacima, a praćena je i njihova otpor-nost na smrzavanje.

example of the original ancient one. For mosaic presentation pur-poses, the mechanical and physical properties of mortars based on NHL with various mineral additives were also investigated, as well as their frostresistance.

63NO

TES

/ BIL

JEŠK

E

Notes / Bilješke

Impressum / Impresum

4th SEE Mosaics Conference „Presentation of Detached Mosaics on Movable Supports“ Pula, Croatia, 3rd-6th October 2017Book of Abstracts

IV. Savjetovanje SEE Mosaics „Prezentacija demontiranih mozaika na pokretnim podlogama“ Pula, Hrvatska, 3. - 6. listopada 2017.Knjiga sažetaka

Organized by / Organizator: Croatian Conservation Institute / Hrvatski restauratorski zavod

Supported by / Potpora: Central European Initiative (CEI)

Partners / Partneri: Archaeological Museum of Istria / Arheološki muzej IstreCroatian Chamber of Commerce – Regional Chamber Pula / Hrvatska Gospodarska komora - Županijska komora PulaCentral Institute for Conservation in Belgrade / Centralni institut za konzervaciju u Beogradu

Editor / Izdavač: Croatian Conservation Institute / Hrvatski restauratorski zavod

For the Editor / Za izdavača: dr. sc. Tajana Pleše Director of the Croatian Conservation Institute / Ravnateljica Hrvatskog restauratorskog zavoda

Organizing Committee / Organizacijski odbor: dr. sc. Tajana Pleše, Mihaela Klarić, Toni Šaina, Darko Komšo, Maja Franković, Branislava Lazarević Tošović, Jasna Jaklin Majetić

Program Committee / Programski odbor:dr. sc. Tajana Pleše, Mihaela Klarić, Toni Šaina, Đeni Gobić-Bravar, Maja Franković, Branislava Lazarević Tošović, Nikola Upevche, prof. dr. sc. Branko Matulić, dr. sc. Tonči Borovac, Antonija Gluhan

Translation / Prijevod: Danijel Lončar

Proofreading / Lektura: Rosanda Tometić i Andy Tomlinson

Visual Identity / Vizualni identitet: Ljubo Gamulin

Printed by / Tisak: Novi val d.o.o.